Wagner's last opera, Parsifal, is a sublime mystery. It has generated controversy and speculation about its meaning since its 1882 Bayreuth premiere.

        It continues to fascinate; its Christian symbolism points to the obvious theme of redemption and renewal — starting with one of the most powerful symbols of Western civilization, the sacred chalice from which Jesus is said to have drunk at the Last Supper.

        Jesus Lopez-Cobos and the Cincinnati Symphony Orchestra took up the legend of the Holy Grail with selections from Parsifal Friday in Music Hall. The music had moments of unearthly beauty — and others that were more earthbound. But the most rewarding performance was made by soprano Margaret Jane Wray as Kundry.

        The entire opera lasts 4 1/2 hours. In the first half, Mr. Lopez-Cobos presented the Prelude to Act I and the Good Friday Spell from Act III in an almost unbroken span.

        Act II was performed after intermission, for the first time by the CSO. The three soloists, six Flower Maidens and Women of the May Festival Chorus (prepared by Robert Porco) were stationed behind the orchestra, whose string sections were lowered into the pit.

        In the Prelude, the orchestra created a shimmering atmosphere for the first hearing of the Grail theme. The playing by the horns (here led by Thomas Sherwood) was consistently beautiful, and the trumpet solo in the Music Hall acoustics was magical (Philip Collins).

        Mr. Lopez-Cobos emphasized the music's spirituality. But rather than move in one continuous arc, he stopped at ends of phrases, losing some continuity. The Good Friday Spell featured excellent playing by orchestral soloists, but emerged somewhat static and at times phrasing seemed unsure.

        The orchestra played with more life in Act II, dramatically the opera's most interesting moment. As Klingsor, baritone Charles Austin projected a strong, sinister presence and his singing was consistently admirable.

        Ms. Wray fully inhabited her role as Kundry, the woman condemned to walk the earth seeking release from her sin. Her lustrous voice filled every corner and she articulated her narratives with sensuousness and a spectacular range of emotion.

        Less effective was tenor Thomas Studebaker as Parsifal, whose voice, while focused, failed to project well and his interpretation was lukewarm.

        The Flower Maidens' “Komm holder Knabe” was a moment of seductive beauty (sung by sopranos Mary Elizabeth Southworth, Janel Frazee, Laura Smith, Lesia Mackowycz, Cecily Nall and Esther Hyun-Nam.)

        Alas, despite beefed-up security in parking lots and the garage after last week's unrest, the concert performance drew the smallest CSO audience in recent memory.

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