Die Entführung aus dem Serail

Origins

The opera loosely refers to the practice of the North African Barbary corsairs, who operated primarily in the western Mediterranean, of hijacking ships belonging to Christian states. Under the pretext of jihad, the ship and cargo were sold or returned only after a ransom was paid. The actual goal, however, was the kidnapping of crew and passengers, to extort ransom money or to sell them into slavery. It was also common to force affected seafaring nations of non-Muslim faith to pay protection money or tribute. The corsairs acted on behalf of or with the acquiescence of the local Muslim rulers in Algiers, Tunis and Tripoli. This type of state-backed piracy finally ended after the French conquest of Algiers (1830).

The company that first sponsored the opera was the Nationalsingspiel ("national Singspiel"), a pet project (1778–1783) of the Austrian emperor Joseph II. The Emperor had set up the company to perform works in the German language (as opposed to the Italian opera style widely popular in Vienna). This project was ultimately given up as a failure, but along the way it produced a number of successes, mostly a series of translated works. Mozart's opera emerged as its outstanding original success.

The inspector of the Nationalsingspiel was Gottlieb Stephanie. When the 25-year-old Mozart arrived in Vienna in 1781, seeking professional opportunity, one of the first tasks to which he addressed himself was to become acquainted with Stephanie and lobby him for an opera commission. To this end, he brought a copy of his earlier unfinished opera Zaide and showed it to Stephanie, who was duly impressed. Mozart also made a strong impression on the manager of the theater, Count Franz Xaver Orsini-Rosenberg, when in the home of Mozart's friend and patroness Maria Wilhelmine Thun the Count heard him play excerpts from his opera Idomeneo, premiered with great success the previous year in Munich. With this backing, it was agreed that Stephanie would find appropriate material and prepare a libretto for Mozart. Stephanie complied by preparing an altered version of an earlier work Belmont und Constanze, oder Die Entführung aus dem Serail without attributing or seeking permission from its original author Christoph Friedrich Bretzner. Bretzner later complained loudly and publicly about the theft.

Composition

Mozart received the libretto from Stephanie on 29 July 1781. He had few opportunities to compose professionally during the summer and he set to work on the libretto at a very rapid pace, finishing three major numbers in just two days. A letter to his father Leopold indicates he was excited about the prospect of having his opera performed in Vienna and worked enthusiastically on his project.

At first Mozart thought he needed to finish his opera in only two months, because tentative plans were made to perform it at the September visit of the Russian Grand Duke Paul (son of Catherine the Great and heir to the Russian throne). However, it was ultimately decided to perform operas by Gluck instead, giving Mozart more time.

It was around this time that Mozart articulated his views about the role of the composer and the librettist in the preparation of an opera. He wrote to his father (13 October 1781):

It would seem that something along these lines did happen—that is, Mozart decided to play a major role in the shaping of the libretto, insisting that Stephanie make changes for dramatic and musical effect. On 26 September Mozart wrote:

Mozart was evidently quite pleased to have in Stephanie a librettist who would listen to him. The same letter also says:

With the delays for rewriting, the composition took several more months. The premiere took place on 16 July 1782, at the Burgtheater in Vienna.

Character

Die Entführung aus dem Serail is in the genre of "Singspiel", thus the music lacks recitatives and consists entirely of set numbers. As Spike Hughes notes, the action is mostly carried forward by the spoken dialogue, so the libretto gave Mozart little opportunity to display an achievement for which his later operas are celebrated, namely the construction of scenes in which the plot is both reflected in and driven forward by the music.

Die Entführung is lighthearted and frequently comic, with little of the deep character exploration or darker feelings found in Mozart's later operas. The opera was inspired by a contemporary interest in the exotic culture of the Ottoman Empire, a nation which had only recently ceased to be a military threat to Austria. Mozart's opera includes a Westernized version of Turkish music, based very loosely on the Turkish Janissary band music.

Certain aspects of the opera conform to an eighteenth-century European view of orientalism. The Pasha's titular harem, for example, reprised themes of sexual libertinage. And the comically sinister overseer, Osmin, is a send-up of earlier stereotypes of Turkish despotism. However, the opera also defies the stereotype of despotic Turkish culture, since its climax entails a selfless act of forgiveness on the part of the Pasha.

The music includes some of the composer's most spectacular and difficult arias. Osmin's act 3 aria "" includes characteristic 18th century coloratura passage work, and twice goes down to a low D (D2), one of the lowest notes demanded of any voice in opera. Perhaps the most famous aria in the opera is the long and elaborate "" ("Tortures of all kinds") for Konstanze, an outstanding challenge for sopranos. Konstanze sings in a kind of sinfonia concertante with four solo players from the orchestra; the strikingly long orchestral introduction, without stage action, also poses problems for stage directors.

The virtuosity of these roles is perhaps attributable to the fact that when he took up the task of composing the opera, Mozart already knew the outstanding reputations of the singers for whom he was writing, and he tailored the arias to their strengths. The first Osmin was Ludwig Fischer, a bass noted for his wide range and skill in leaping over large intervals with ease. Similarly, Mozart wrote of the first Konstanze, Caterina Cavalieri, "I have sacrificed Konstanze's aria a little to the flexible throat of Mlle. Cavalieri."

Reception

Although the opera greatly raised Mozart's standing with the public as a composer, it did not make him rich: he was paid a flat fee of 100 Imperial ducats (about 450 florins) for his work, and made no profits from the many subsequent performances.

The opera reached Paris in November 1801, when Frédéric Blasius conducted Ellmenreich's company in performances at the Théâtre de la Gaîté.

The American premiere in English was given by the Rochester Opera Company on 1 November 1926 under the direction of Vladimir Rosing. A second production with a new English libretto by Robert A. Simon was debuted by the American Opera Company at the Gallo Opera House in New York on 31 January 1928, and was then performed on tour in Boston and Chicago.

"Too many notes"

The complexity of Mozart's work noted by Goethe also plays a role in a well-known tale about the opera which appeared in the early (1798) biography of Mozart by Franz Xaver Niemetschek. In the version of the anecdote printed in Bartlett's Book of Anecdotes, a reference work, the story is told like this:

The authenticity of this story is not accepted by all scholars. Moreover, the version given by the Bartlett reference (and many other places) includes a translation of the original German that is dubious. The original reads: "Zu schön für unsere Ohren, und gewaltig viel Noten, lieber Mozart!" "Too many notes" is not a plausible translation of the German phrase "gewaltig viel Noten". Mautner, translating Niemetschek, renders this as "an extraordinary number of notes", while Branscombe translates it simply as "very many notes". William Stafford translates the phrase as "Too beautiful for our ears, and an enormous number of notes, dear Mozart!" The anecdote, which is often repeated, is considered by some scholars to unfairly give the Emperor a bad reputation concerning both his musical abilities and his appreciation and support of Mozart.

Roles

Instrumentation

The singers perform with a Classical-era orchestra: pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, a set of two timpani, and strings. They are augmented with the instruments needed for "Turkish" music: a 'tamburo grande' (or 'tamburo turco'), cymbals, triangles, and piccolo. The aria "Traurigkeit ward mir zum Lose" is augmented by two basset horns.

The orchestra for the premiere included a number of eminent musicians of the day: first cellist Joseph Franz Weigl, first oboist Josef Triebensee, second oboist second horn Joseph Leutgeb, and the clarinettist brothers Anton and Johann Stadler. In the first violin section was Franz de Paula Hofer, who later became Mozart's brother-in-law. The four musicians who played the "Turkish" instruments remain anonymous, though it is known that they were recruited for this purpose by one Franz Tyron, Kapellmeister of the Austrian Second Field Artillery Regiment.

Synopsis

:Place: the country house of the Pasha (German "Bassa"), in Turkey :Time: 16th century

Act 1

After a lively overture Belmonte enters, looking for his betrothed, Konstanze, who, with her English servant, Blonde, has fallen into the hands of pirates and been sold to Pasha Selim (Aria: "" – "Here surely I must find her"). Osmin, the Pasha's bad-tempered servant, comes to pluck figs in the garden and contemptuously ignores Belmonte's questions (Aria: "" – "You may think, you've found a maiden"). Belmonte tries to obtain news of his servant, Pedrillo, who has been captured with the women and is serving as a servant in the Pasha's palace. Osmin replies with insults and abuse (Duet: "" – "The devil take you and your song, sir"). Belmonte leaves in disgust. Pedrillo enters and Osmin rages at him, vowing to get him tortured and killed in many different ways (Aria: "" – "These young men who go a-spying"). Osmin leaves and Belmonte enters and happily reunites with Pedrillo. Together, they resolve to rescue Konstanze and Blonde, who is Pedrillo's fiancée (Aria: "" – "Konstanze, Konstanze, to see thee again … Oh what trembling").

Accompanied by a chorus of Janissaries ("" – "Sing to the mighty Pasha Selim"), Pasha Selim appears with Konstanze, for whose love he strives in vain (Aria of Konstanze: "" – "How I loved him"). Pedrillo tricks the Pasha into hiring Belmonte as an architect. When Belmonte and Pedrillo try to enter the palace, Osmin bars their way, but they hurry past him anyway (Terzett: "" – "March! March! March! Clear off!").

Act 2

The Pasha has given Blonde to Osmin, to be his slave; however, she defiantly rebuffs her new master's rough lovemaking attempts (Aria: "" – "With smiles and kind caresses"), threatens to scratch out his eyes, and chases him out of the room (Duet: "" – "I'm going, but mark what I say"). Konstanze enters in distress (Aria: "" – "Oh what sorrow overwhelms my spirit … Endless grief tortures my spirit"). The Pasha enters, demands Konstanze's love, and threatens to use force, but she resolutely rejects him (Aria: "" – "Tortures unrelenting"). Left alone, he muses on her determination to remain chaste, which increases his desire for her.

Pedrillo informs Blonde that Belmonte has come and is planning to rescue them, filling Blonde with joy (Aria: "" – "Oh, the happy, happy day"). After singing a short ditty to boost his courage (Aria: "" – "Now Pedrillo, now for battle!"), Pedrillo invites Osmin to drink (Duet: "" – "Here's to Bacchus, long live Bacchus"). Despite his religious prohibition against alcoholic beverages, Osmin drinks heavily and falls asleep. Konstanze joins Belmonte who declares his love (Aria: "" – "When tears of joy flow"). The two couples reunite (Quartet, Belmonte, Konstanze, Pedrillo, Blonde: "" – "Ah, Belmonte, ah my dear one!"). After their initial expressions of love and joy, Belmonte and Pedrillo both question anxiously whether their respective fiancees have remained faithful during their forced separation; to their delight, the women respond with indignation and dismay, and Blonde slaps Pedrillo's face. The two men apologize for their lack of confidence; the women forgive them for their offensive questions.

Act 3

Klaas and Pedrillo come to the garden with ladders (Aria, Belmonte: "" – "Love, only love, can now direct me"). Pedrillo attracts the attention of the women by singing a ballad about a rescue similar to the one he is planning (Romanze, Pedrillo: "" – "In Moorish lands a maiden fair"). However, Osmin enters, sees the ladders, and rouses the castle. Osmin exults in the prospect of seeing them all hanged (Aria: "" – "My triumphant hour's approaching"). Belmonte pleads for their lives and tells Pasha Selim that his father is a Spanish Grandee and Governor of Oran, named Lostados, and will pay a generous ransom. Unfortunately, Pasha Selim and Lostados are long-standing enemies. The Pasha rejoices in the opportunity to subject his enemy's son to a horrible death. He leaves Belmonte and Konstanze to bid each other a last farewell; they lovingly assure each other that being tortured to death will be a pleasure, so long as they get tortured to death together (Duet: "" – "What dreadful fate conspires against us.... Woe, you will die because of me"). However, the Pasha then decides that he can make a better point against Lostados by showing mercy and releasing Belmonte and his friends. All are set at liberty – much to the dismay of Osmin (Finale: "" – "Your noble mercy passes measure").

Recordings

Main article: Die Entführung aus dem Serail discography

Adaptations

The Australian Broadcasting Commission made a TV production in 1961 as the English-language The Abduction from the Seraglio, using outdoor filming in addition to the stage setting.

The American post-modernist writer Donald Barthelme wrote a surreal comic short story entitled "The Abduction from the Seraglio" (published in The New Yorker in January 1978, collected in Great Days, Farrar, Strous & Giroux 1979, and in Sixty Stories, 1981) in which Belmonte, as narrator, is reconfigured into a cowboy sculptor (whose arias are Country & Western songs), Constanze into his ex-lover, a counter-culture free spirit seduced by the Pasha, who in turn is a Plymouth automobile dealer worth five million dollars a year. Belmonte's rescue attempt fails as Constanze decides to stay with the Pasha, and he is left bereft.

Music professor, composer, and humorist Peter Schickele claims to have "discovered" the fictional composer P. D. Q. Bach's The Abduction of Figaro (1984), a pastiche of the Entführung and Mozart's The Marriage of Figaro.

The Finnish composer Aulis Sallinen wrote an opera called The Palace (first performed 1995); it contains characters whose names are adapted from Abduction and loosely uses elements of the plot of Mozart's opera as the starting point of a satirical fantasy.

References

Notes

Sources

• [This is a recent edition of a much older work.]

References

1. [[Robert Letellier. Robert Ignatius Letellier]] (ed.): ''The Diaries of Giacomo Meyerbeer''. Vol. 1: 1791–1839, Associated University Presses, Cranberry, London, Mississsauga 1999, {{ISBN. 978-0838637890, p. 375
2. Hsu-Ming Teo: ''Desert Passions: Orientalism and Romance Novels'', University of Texas Press, Austin 2012, {{ISBN. 978-0292739383, p. 46
3. {{harvnb. Abert. 2007
4. {{lang. de. Mozart Briefe und Aufzeichnungen No. 615. Collected edition, Internazionalen Stiftung Mozarteum, Salzburg.
5. By this Mozart meant something exceedingly rare. The same metaphor is used in the first scene of Mozart's later opera {{lang. it. [[Così fan tutte]].
6. Quoted in {{harvnb. Braunbehrens. 1990
7. Quoted in {{harvnb. Braunbehrens. 1990
8. Quoted in {{harvnb. Braunbehrens. 1990
9. {{Almanacco. de. Die Entführung aus dem Serail, 16 July 1782
10. See, for example, {{harvnb. Manning. 1982.
11. {{harvnb. Braunbehrens. 1990. Siege of Vienna]] in 1683. Later in the decade, Austria was again at war with Turkey (see [[Austro-Turkish War (1788–1791)]]) but this was a war of aggression, not defense.
12. Two contemporary works also showing the contemporary interest in matters Turkish were Giovanni Paolo Marana's ''[[Letters Writ by a Turkish Spy]]'' and [[Montesquieu]]'s ''[[Persian Letters]]''.
13. [https://interlude.hk/mozart-die-entfuhrung-aus-dem-serail-k-384-premiered-today-1782/ "Mozart: ''Die Entführung aus dem Serail'' K. 384 "] by Georg Predota, interlude.hk, 16 July 2018
14. {{harvnb. Osterhammel. 1998 notes: "{{lang. de. Neben das alte Bild des dämonisierten Feindes trat in der künstlerischen Repräsentation nun der übertölpelte Buffo-Türke, wie man ihn als Haremswächter Osmin auf Mozarts ''Entführung aus dem Serail'' (1782) kennt." [Next to the older image of the demonised enemy stood the over-the-top Turkish Buffoon in cultural representation, such as the Harem overseer Osmin from Mozart's ''Abduction from the Seraglio''.] p. 34
15. Head, Matthew. (April 2020}} and possibly implied by Mary Hunter who says that he is "represented as European by his act of mercy", in {{cite book). "Orientalism, Masquerade and Mozart's Turkish Music". Royal Musical Association.
16. "Learn About Opera".
17. For discussion, see {{harvnb. Rosen. 1997. Eisen. 2006. (July 2020)
18. Cairns, David. (2007). "Mozart and His Operas". Penguin UK.
19. (2007). "Starší divadlo v českých zemích do konce 18. století". Divadelní ústav, Academia.
20. For a listing see {{harvnb. Deutsch. 1965
21. See the index entry for the opera in {{harvnb. Deutsch. 1965. The Stuttgart premiere had to wait until 19 September 1795, because the singspiel {{lang. de. Belmont und Constanze, set to the same story by Christian Ludwig Dieter (1757–1822), first performed there in 1784, was so popular as to preclude any performances of Mozart's version; ''[[Grove's Dictionary of Music and Musicians]]'', 5th ed, 1954, [[Eric Blom]], ed.
22. Quoted from {{harvnb. Deutsch. 1965
23. Noiray, Michel. "Blasius [Blassius], (Matthieu-)Frédéric" in [[Stanley Sadie]], ed., ''[[The New Grove Dictionary of Opera]]'', 4 vols. (London: Macmillan, 1992), 1: 498
24. "Mozart's Seraglio Given Its American Premiere", ''[[Rochester Times-Union. Times-Union]]'' (Rochester), 2 November 1926.
25. "Mozart's ''Abduction From the Seraglio'' by the American Opera Company", ''[[New York Herald Tribune]]'', 3 February 1928.
26. "Final Opera of Americans Gayest of All", ''[[Chicago Tribune]]'', 17 April 1928.
27. See Schmidt-Hensel, and references cited there.
28. (October 2006). "'... gewaltig viele Noten, lieber Mozart!'. Die Mozart-Autographe der Staatsbibliothek zu Berlin". [[Berlin State Library]].
29. Stafford, William. (1991). "The Mozart Myths: A Critical Reassessment". Stanford University Press.
30. Blonde's beloved Pedrillo addresses her as "{{lang. de. Blondchen," the German [[List of diminutives by language. diminutive]] form of her name. Blonde is also occasionally called Blondchen in program notes and similar contexts. See {{harvnb. Hughes. 1971
31. "''Die Entführung aus dem Serail'': Introduction – Opera Libretti". [[Naxos Records.
32. C. F. Bretzner. (1962). "The Abduction from the Seraglio". [[G. Schirmer]].
33. English titles from ''[http://www.chandos.net/Details06.asp?CNumber=CHAN%203081 The Abduction From the Seraglio]'', [[Chandos Records]] CHAN 3081 (2002)
34. de. Kampf" and "{{lang. de. Streit" at the end and shouts "{{lang. de. Frisch zum Streite! Frisch zum Kampfe! Frisch zum Streite!" This new order was often considered a mistake on Mozart's part and was adapted to the previous order; this intervention in Mozart's score can also be heard on most recordings of this opera.
35. (6 April 1961). "Four TV Opera Debuts in ''The Seraglio''". [[The Age]].
36. [https://www.newyorker.com/magazine/1978/01/30/the-abduction-from-the-seraglio "The Abduction from the Seraglio"] by [[Donald Barthelme]], ''[[The New Yorker]]'', 30 January 1978, p. 30
37. [https://www.nytimes.com/1984/04/30/arts/opera-peter-schickele-s-abduction-of-figaro.html "Opera: Peter Schickele's ''Abduction of Figaro''"] by [[John Rockwell]], ''[[The New York Times]]'', 30 April 1984
38. [http://composers.musicfinland.fi/musicfinland/fimic.nsf/0/A0D36DCB163557E6C2257537003FB04D?opendocument "Some Thoughts on ''The Palace''"] {{Webarchive. link. (22 January 2016 by [[Aulis Sallinen]], musicfinland.fi, 1995)