Die Entführung aus dem Serail (The Abduction from the Seraglio)
A comical opera (singspiel) in three acts by W. A. Mozart
The libretto by Christoph Friedrich Bretzner with adaptations by Gottlieb Stephanie
First performance: July 16, 1782 at Burgtheater of Vienna



Introduction:

Archbishop of Salzburg didn't grant Mozart the leave he'd asked for many times. Mozart gained his dismissal by behaving so badly that he was physically thrown out of the court with a kick in behind. He then moved to Vienna and tried to establish his reputation as a mature and independent composer in that town. Mozart was already well-known as a child prodigy with a great talent in music by going from court to court and playing music for royalties. His latest Opera at that time, Idomeneo, rè di Creta (Idomeneo, King of Crete), had been a great success in Munich. However he wasn't known for composing operas in Vienna just yet. So he made it known that he was available for composing an opera and took his time by flirting with his future wife, Constanza Webber.

Emperor Joseph II who wished to bring an original German opera to the Burgtheater of Vienna commanded the young composer to fulfill his wish, what Mozart was eagerly looking forward to doing. It took Mozart ten months to finish this opera because Stephanie had to change the verses to improve the libretto many times. Mozart had to even use his own verses for some parts. In the end, in one of the letters to his father, Mozart acknowledged that the libretto is not that great, however he is optimistic that people in Vienna would like this work and the title itself is enough to draw attentions.

The plot has some great humor, for instance the Osmin's aria on how to torture a man by first beheading and then hanging him. It is also full of Turkish stereotypes since Ottoman Empire used to be a great military threat to Viennese. The ending however, would wash away those stereotypes. The score is very charming at its climax of jubilance among other Mozart's operas. It also has a touch of western adaptation of Turkish music, especially in the finale. All and all, this is a lighthearted musical comedy that contrary to its simple theme has some of the hardest and most beautiful arias Mozart has ever composed, notably Martern aller Arten (Tortures of all kinds), the Constanza's aria. Musical pieces are separated with speaking parts and there are no recitatives, which makes it a "singspiel" rather than an opera by musical definitions.

Mozart's father was unhappy with his son's affection toward Constanza Webber and his leaving Salzburg. He ignored Mozart's invitation to attend his performances of this opera; however, he wrote to his daughter that even the Archbishop was gracious enough to say this opera wasn't actually bad at all. Since its release in July of 1782 through Mozart's lifetime, Die Entführung aus dem Serail was his most popular work outside Vienna as it also did very well financially inside Vienna.


Characters:
Belmonte: tenor, a Spanish nobleman
Pedrillo: tenor, Belmonte's servant
Constanza: soprano, a Spanish lady, Belmonte's fiancée
Blonde (Blondchen): soprano, Constanza's English maid
Osmin: bass, overseer of the Pasha's palace
Pasha Selim: speaking role
Klaas: speaking role, a sailor


Synopsis:

Location: Palace of the Pasha, somewhere along the Mediterranean coast, 16th century.

Act I

Belmonte has heard that his fiancée (Constanza) and her maid (Blonde) who had fallen into the hands of pirates have been sold to Pasha Selim and he comes to the rescue. He sees Osmin who is singing while picking fruits in the garden but Osmin totally ignores the stranger who is trying to find his servant, Pedrillo. Upon hearing Pedrillo's name Osmin gets angry and tries to send Belmonte away. Belmonte finally meets Pedrillo and they plan to abduct Constanza, but they must first get rid of the old watchdog, Osmin. Pasha Selim arrives from his boat trip with Constanza whose heart he's tried to soften into loving him unsuccessfully. Constanza has confided to Pasha that she is in love with someone else. They are being greeted by Janissaries singing chorus in honor of the Pasha. Pedrillo introduces Belmonte to Pasha as an architect, hoping to take him inside the palace, but Osmin doesn't let them inside.


Act II

Blonde aggressively refuses the rough lovemaking attempts of Osmin. Osmin angrily leaves her alone. Pasha comes to Constanza to tell her that his patience is exhausted. Constanza must change her mind by the next day, or face tortures of every kind. She bravely refuses and says that she is ready for any torture, but she's better be dead than be unfaithful to her true love. Pedrillo meets Blonde, his sweetheart, and informs her that Belmonte and he are planning to abduct them. Blonde is filled with joy. Pedrillo invites Osmin to drink so that he'd be out of their way that night, but Osmin is a Muslim and it takes a little effort for Pedrillo to succeed in his plan. (Vivat Bacchus! is one of the funniest duets in this Opera.) Belmonte gets to see his beloved Constanza, but things don't go very well when he asks if she's been unfaithful to him. Nonetheless, after a little bitterness, women forgive the suspicious men and plan for the great escape.


Act III

Belmonte and Pedrillo come to the garden with ladders. Pedrillo plays Captive in the land of the Moors on his mandolin as a signal for girls to come down. Unfortunately Osmin wakes up and they are caught. Belmonte makes a fatal mistake by saying that he is son of Commandant of Oran and his name is Lostados. Years before Belmonte's father had robbed Selim from his love, honor and his property. Pasha asks Belmonte if his father was in his position, what he would do, to which Belmonte admits that there would be a bad fate waiting for such captives. Pasha and Osmin retire to discuss the best method of torture and death for the foreigners. In their absence, Belmonte and Constanza reaffirm their love and eagerly look forward to dying in each other's arms.

The Pasha returns with his decision. Because he is not like Belmonte's father, whom he calls a "barbarian"; he has decided to set them free. "It is a far greater pleasure to repay injustices suffered by good deeds than to compensate evil by more evil." Osmin is shocked, angered and disappointed over losing Blonde. Belmonte, Constanza, Pedrillo and Blonde sing the praises of human kindness as they depart. The Janissaries return for a final chorus in honor of the Pasha: "Long live the Pasha Selim! Let honor be his due!"

Good job, Afi! Well, as always!
This is one of the nicest comic operas, definitely.
Which one is next? "Cosi fan Tutte"?

My only and most faithful audience JM! Well, you sure don't need these anyway as you should know better. :p

There is going to be one more opera analysis on The Magic Flute, because I only had planned to do the four operas that was covered in the movie Amadeus. I remember the first time I watched it, I didn't have any idea about any of these operas and it took me a while to get to read their synopsis. But when you know these operas by heart you even enjoy more re-watching this movie over and over again. Crazy! I know! :p

I might add a review for this movie to accompany these four opera introductions.

BTW, I've not found any recording of Cosi Fan Tutti yet unfortunately.

She's not your only audience, Afs! I always read your reviews. And you always do a great job... I just don't usually comment because Mozart's operas aren't my favorites. Don't hate me! :p Really though, I like the idea of these regular opera reviews.

Well then, thanks Zia. I refrain. JM, my only faithful audience who loves Mozart as much as I do!

I don't hate you Zia, everyone is entitled to his/her opinion. *Yeah right, I hate you!* :p (j/k)

Dear Afi, it would be a great pity if you abandon this wonderful idea! After all, Mozart wrote so many operas. You may write about Mitridate, or Idomeneo, or Clemenza dal Tito, or any other... Or, you may write about Verdi.
Anyway, it's great you are doing it, and I hope sincerely that when you will satisfy your appetite with Mozart's music as much as you wish to, you won't deny possibility of listening something more from classical world.

I'm not sure if I ever lose appetite for Mozart. I've already listened to his operas, masses, concertos and symphonies over and over again and it doesn't get old to me.

However, I've listened to other classics as well and notably I've loved The Four Seasons of Vivaldi, also some compositions of Bach.

Mozart is special to me because his melodies are noble and charming, at lease to me and to this day I've not heard anything like them so mind blowing. When I heard the Queen of the Night arias and Dies Irae of Requiem Mass I felt I was hit by lightning.
The fact that he is an independent composer with more than 600 fine compositions in only 35 years of his short life --and that's what has been salvaged, almost half of his symphonies are lost-- makes him even more interesting to me. His variety of works because of his independency from any court or church is another thing that is very impressing and although he's been limited to the taste of his era, he has gone further than that many times. Being a freemason and his activities in Enlightenment movement is what makes him even more respectful in my eyes. This is the feeling that surpasses me when I write about him or listen to his works, I'm not myself anymore and these essays, although insignificant, is not what I naturally could write.

This doesn't mean that I've no interest in other composers or I'd abandon the classical or opera. I just think I can't do the justice to their works because simply I can't have the same feeling when I write about them. As for Mozart's other operas, I've not been lucky enough to find any recording as I mentioned earlier.

My dear Afi , I know Wolfie too well to suppose that you may lose interest to him. I didn't say that you'll lose appetite or his music will become old for you.
I meant only, when your appetite will be so far satisfied that you will be able to spare attention and time to listen others.
Bach - Number One Genius of the world. The fact that you had immediate appreciation for his musical language, which is much more complex than that of classicism, says a lot about you - very good, of course.

Are you sure that you know yourself that good? You didn't write, but it doesn't mean you couldn't. There are such powers concealed in a human intellect! God save us.
That's the effect of classics. While pop culture usually makes you dumber, classical makes you think, see, and grow, grow...
Congrats on your new horizons. You can do this and a lot more, I'm sure. It's the best feeling you have - discovering your own unknown potential. I had it once in my life - at a competition.