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    Q&A: A high-tech take on Wagner’s “Parsifal” opera

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    The world-famous Bayreuth Festival in Germany, annually centered around the works of composer Richard Wagner, launched this summer on July 25 with a production that has been making headlines. Director Jay Scheib, an MIT faculty member, has created a version of Wagner’s celebrated opera “Parsifal” that is set in an apocalyptic future (rather than the original Medieval past), and uses augmented reality headset technology for a portion of the audience, among other visual effects. People using the headsets see hundreds of additional visuals, from fast-moving clouds to arrows being shot at them. The AR portion of the production was developed through a team led by designer and MIT Technical Instructor Joshua Higgason.

    The new “Parsifal” has engendered extensive media attention and discussion among opera followers and the viewing public. Five years in the making, it was developed with the encouragement of Bayreuth Festival general manager Katharina Wagner, Richard Wagner’s great-granddaughter. The production runs until Aug. 27, and can also be streamed on Stage+. Scheib, the Class of 1949 Professor in MIT’s Music and Theater Arts program, recently talked to MIT News about the project from Bayreuth.

    Q: Your production of “Parsifal” led off this year’s entire Bayreuth festival. How’s it going?

    A: From my point of view it’s going quite swimmingly. The leading German opera critics and the audiences have been super-supportive and Bayreuth makes it possible for a work to evolve … Given the complexity of the technical challenge of making an AR project function in an opera house, the bar was so high, it was a difficult challenge, and we’re really happy we found a way forward, a way to make it work, and a way to make it fit into an artistic process. I feel great.

    Q: You offer a new interpretation of “Parsifal,” and a new setting for it. What is it, and why did you choose to interpret it this way?

    A: One of the main themes in “Parsifal” is that the long-time king of this holy grail cult is wounded, and his wound will not heal. [With that in mind], we looked at what the world was like when the opera premiered in the late 19th century, around the time of what was known as the Great African Scramble, when Europe re-drew the map of Africa, largely based on resources, including mineral resources.

    Cobalt remains [the focus of] dirty mining practices in the Democratic Republic of Congo, and is a requirement for a lot of our electronic objects, in particular batteries. There are also these massive copper deposits discovered under a Buddhist temple in Afghanistan, and lithium under a sacred site in Nevada. We face an intense challenge in climate change, and the predictions are not good. Some of our solutions like electric cars require these materials, so they’re only solutions for some people, while others suffer [where minerals are being mined]. We started thinking about how wounds never heal, and when the prospect of creating a better world opens new wounds in other communities. … That became a theme. It also comes out of the time when we were making it, when Covid happened and George Floyd was murdered, which created an opportunity in the U.S. to start speaking very openly about wounds that have not healed.

    We set it in a largely post-human environment, where we didn’t succeed, and everything has collapsed. In the third act, there’s derelict mining equipment, and the holy water is this energy-giving force, but in fact it’s this lithium-ion pool, which gives us energy and then poisons us. That’s the theme we created.

    Q: What were your goals about integrating the AR technology into the opera, and how did you achieve that?

    A: First, I was working with my collaborator Joshua Higgason. No one had ever really done this before, so we just started researching whether it was possible. And most of the people we talked to said, “Don’t do it. It’s just not going to work.” Having always been a daredevil at heart, I was like, “Oh, come on, we can figure this out.”

    We were diligent in exploring the possibilities. We made multiple trips to Bayreuth and made these milimeter-accurate laser scans of the auditorium and the stage. We built a variety of models to see how to make AR work in a large environment, where 2,000 headsets could respond simultaneously. We built a team of animators and developers and programmers and designers, from Portugal to Cambridge to New York to Hungary, the UK, and a group in Germany. Josh led this team, and they got after it, but it took us the better part of two years to make it possible for an audience, some of whom don’t really use smartphones, to put on an AR headset and have it just work.

    I can’t even believe we did this. But it’s working.

    Q: In opera there’s hopefully a productive tension between tradition and innovation. How do you think about that when it comes to Wagner at Bayreuth?

    A: Innovation is the tradition at Bayreuth. Musically and scenographically. “Parsifal” was composed for this particular opera house, and I’m incredibly respectful of what this event is made for. We are trying to create a balanced and unified experience, between the scenic design and the AR and the lighting and the costume design, and create perfect moments of convergence where you really lose yourself in the environment. I believe wholly in the production and the performers are extraordinary. Truly, truly, truly extraordinary.

    Q: People have been focused on the issue of bringing AR to Bayreuth, but what has Bayreuth brought to you as a director?

    A: Working in Bayreuth has been an incredible experience. The level of intellectual integrity among the technicians is extraordinary. The amount of care and patience and curiosity and expertise in Bayreuth is off the charts. This community of artists is the greatest. … People come here because it’s an incredible meeting of the minds, and for that I’m immensely filled with gratitude every day I come into the rehearsal room. The conductor, Pablo Heras-Casado, and I have been working on this for several years. And the music is still first. We’re setting up technology not to overtake the music, but to support it, and visually amplify it.

    It must be said that Katharina Wagner has been one of the most powerfully supportive artistic directors I have ever worked with. I find it inspiring to witness her tenacity and vision in seeing all of this through, despite the hurdles. It’s been a great collaboration. That’s the essence: great collaboration. More

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      Ian Hutchinson: A lifetime probing plasma, on Earth and in space

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      Ordinary folks gazing at the night sky can readily spot Earth’s close neighbors and the light of distant stars. But when Ian Hutchinson scans the cosmos, he takes in a great deal more. There is, for instance, the constant rush of plasma — highly charged ionized gases — from the sun. As this plasma flows by solid bodies such as the moon, it interacts with them electromagnetically, sometimes generating a phenomenon called an electron hole — a perturbation in the gaseous solar tide that forms a solitary, long-lived wave. Hutchinson, a professor in the MIT Department of Nuclear Science and Engineering (NSE), knows they exist because he found a way to measure them.

      “When I look up at the moon with my sweetheart, my wife of 48 years, I imagine that streaming from its dark side are electron holes that my students and I predicted, and that we then discovered,” he says. “It’s quite sentimental to me.”

      Hutchinson’s studies of these wave phenomena, summed up in a paper, “Electron holes in phase space: What they are and why they matter,” recently earned the 2022 Ronald C. Davidson Award for Plasma Physics presented by the American Physical Society’s Division of Plasma Physics.

      Measuring perturbations in plasma

      Hutchinson’s exploration of electron holes was sparked by his work over many decades in fusion energy, another branch of plasma physics. He has made many contributions to the design, operation, and experimental investigation of tokamaks — a toroidal magnetic confinement device — intended to replicate and harness the fiery thermonuclear reactions in the plasma of stars for carbon-free energy on Earth. Hutchinson took a particular interest in how to measure the plasma, notably the flow at the edges of tokamaks.

      Heat generated from fusion reactions may escape magnetic confinement and build up along these edges, leading to potential temperature spikes that impact the performance of the confinement device. Hutchinson discovered how to interpret signals from small probes to measure and track plasma velocity at the tokamak’s edge.

      “My theoretical work also showed that these probes quite likely induce electron holes,” he says. But proving this contention required experiments at resolutions in time and space beyond what tokamaks allow. That’s when Hutchinson had an important insight.

      “I realized that the phenomena we were trying to investigate can actually be measured with exquisite accuracy by satellites that travel through plasma surrounding Earth and other solid bodies,” he says. Although plasmas in space are at a much larger scale than the plasmas generated in the laboratory, measurements of these gases by a satellite is analogous “to a situation where we fly a tiny micron-sized spacecraft through the wakes of probes at the edge of tokamaks,” says Hutchinson.

      Using satellite data provided by NASA, Hutchinson set about analyzing solar plasma as it whips by the moon. “We predicted instabilities and the generation of electron holes,” he recounts. “Our theory passed with flying colors: We saw lots of holes in the wake of the moon, and few elsewhere.”

      Developing tokamaks

      Hutchinson grew up in the English midlands and attended Cambridge University, where he became “intrigued by plasma physics in a course taught by an entertaining and effective teacher,” he says.

      Hutchinson headed for doctoral studies at Australian National University on fellowship. The experience afforded him his first opportunity for research on plasma confinement. “There I was at the ends of the Earth, and I was one of very few scientists worldwide with a tokamak almost to myself,” he says. “It was a device that had risen to the top of everyone’s agenda in fusion research as something we really needed to understand.”

      His dissertation, which examined instabilities in plasma, and his hands-on experience with the device, brought him to the attention of Ronald Parker SM ’63, PhD ’67, now emeritus professor of nuclear science and engineering and electrical engineering and computer science, who was building MIT’s Alcator tokamak program.

      In 1976, Hutchinson joined this group, spending three years as a research scientist. After an interval in Britain, he returned to MIT with a faculty position in NSE, and soon, a leadership role in developing the next phase of the Institute’s fusion experiment, the Alcator-C Mod tokamak.

      “This was a major development of the high-magnetic field approach to fusion,” says Hutchinson. Powerful magnets are essential for containing the superhot plasma; the MIT group developed an experiment with a magnetic field more than 150,000 times the strength of the Earth’s magnetic field. “We were in the business of determining whether tokamaks had sufficiently good confinement to function as fusion reactors,” he says.

      Hutchinson oversaw the nearly six-year construction of the device, which was funded by the U.S. Department of Energy. He then led its operation starting in 1993, creating a national facility for experiments that drew scientists and students from around the world. At the time, it was the largest research group on campus at MIT.

      In their studies, scientists employed novel heating and sustainment techniques using radio waves and microwaves. They also discovered new methods for performing diagnostics inside the tokamak. “Alcator C-Mod demonstrated excellent confinement in a more compact and cost-effective device,” says Hutchinson. “It was unique in the world.”

      Hutchinson is proud of Alcator C-Mod’s technological achievements, including its record for highest plasma pressure for a magnetic confinement device. But this large-scale project holds even greater significance for him. “Alcator C-Mod helped beat a new path in fusion research, and has become the basis for the SPARC tokamak now under construction,” he says.

      SPARC is a compact, high-magnetic field fusion energy device under development through a collaboration between MIT’s Plasma Science and Fusion Center and startup Commonwealth Fusions Systems. Its goal is to demonstrate net energy gain from fusion, prove the viability of fusion as a source of carbon-free energy, and tip the scales in the race against climate change. A number of SPARC’s leaders are students Hutchinson taught. “This is a source of considerable satisfaction,” he says. “Some of their down-to-Earth realism comes from me, and perhaps some of their aspirations have been molded by their work with me.” 

      A new phase

      After leading Alcator C-Mod for 15 years and generating hundreds of journal articles, Hutchinson served as NSE’s department head from 2003 to 2009. He wrote the standard textbook on measuring plasmas, and has more recently written “A Student’s Guide to Numerical Methods” (2015), which evolved from a course he taught to introduce graduate students to computational problem-solving in physics and engineering.

      After this, his 40th year on the MIT faculty, Hutchinson will be stepping back from teaching. “It’s important for new generations of students to be taught by people at the pinnacle of their mental and intellectual capacity, and when you reach my age, you’re aware of the fact that you’re slowing down,” he says.

      Hutchinson’s at no loss for ways to spend his time. As a devout Christian, he speaks and writes about the relationship between religion and science, trying to help skeptics on both sides find common ground. He sings in two choral groups, and is very busy grandparenting four grandsons. For a complete change of pace, Hutchinson goes fly fishing.

      But he still has plans to explore new frontiers in plasma physics. “I’m gratified to say I still do important research,” he says. “I’ve solved most of the problems in electron holes, and now I need to say something about ion holes!” More