In Opera and Drama Richard Wagner promised to abolish the opera chorus. Although the chorus's continued appearance in Wagner's later works seems to belie this pledge, this essay argues that Wagner symbolically made good on his promise in his treatment of the knights in Parsifal. For most of the drama, the knights serve as active, even demanding, participants. Yet as the work closes, the knights simply join the off-stage treble voices to reflect on the action. Their reverent spectatorship now parallels that of the intended audience of Bayreuth itself, the theatrical space that Parsifal– Wagner's Bühnenweihfestspiel– was written to consecrate. This dramaturgical transformation is matched by a musical one, in which the intense chromaticism marking much of the knights' earlier music is abandoned for a mediated yet insistent diatonicism far removed from the chromatic space of the principals. By eliminating the chorus from the active sphere of the drama, Wagner counteracted a Nietzschean ideal of communal authorship ‘from below’ that had previously dominated German theorising of the chorus.