The Abduction from the Seraglio

About the opera: Mozart premiered The Abduction from the Seraglio in 1782, while a craze for all things Turkish, especially Turkish-style music, swept Western Europe. (Following Abduction, Mozart composed Piano Sonata no. 11 in A major, featuring the famous “rondo alla Turca.”) The characterizations of Turkish characters in the libretto (written by Christoph Friedrich Bretzner and adapted by Gottlieb Stephanie) seem like insensitive caricatures to modern eyes. The cruel and boorish actions of the jailer Osmin are reflected in the “Turkish” percussion, which plays just when his behavior is the most repulsive. On the other hand, the European heroes of the opera are accompanied by music of classic Mozartean elegance. In many productions today, the entire Turkey vs. Western Europe premise is scrapped in favor of focusing on the true strengths of the opera (which transcend 18th century prejudices): beautiful melodies, inventive musical forms, fully developed characters, and a comedic plot, which is easily divorced from time and place.

Synopsis: Constanze, a noble Spanish lady, her English servant Blondchen, and Pedrillo, the servant of Constanze's fiancé Belmonte, have been abducted by Moorish pirates and handed over to the Pasha Selim, who imprisons them in his seraglio (a combination of a palace and living quarters for his harem). Selim soon falls in love with Constanze, while Osmin, their coarse, cruel jailer, attempts to woo Blondchen. Belmonte manages to enter the palace in a bid to rescue them. Just as the two couples are about to flee, they are captured by Selim. Rather than kill them, as Osmin suggests, the pasha chooses to set them free, as a way of proving how civilzed he is.