Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw

La Juive in Lyon

Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .

OPERA TODAY ARCHIVES »

Performances

Elizabeth Zharoff as Konstanze, with Peter Dolder as Pasha Selim and Antonio Lozano as Belmonte [Photo by Kelly & Massa Photography courtesy of Opera Company of Philadelphia]
06 Mar 2012

Abduction from the Seraglio, Philadelphia

Abduction from the Seraglio contains not a single ironic or cynical moment. Enlightened mercy and sincere love triumph totally over revenge, slavery and tyranny.

W. A. Mozart: Abduction from the Seraglio

Click here for cast and other production information.

Above: Elizabeth Zharoff as Konstanze, with Peter Dolder as Pasha Selim and Antonio Lozano as Belmonte

Photos by Kelly & Massa Photography courtesy of Opera Company of Philadelphia

 

Despite its robust comedy, technical difficulty, and occasional exoticism, Mozart’s music is youthfully transparent. His fresh score transforms eternal stereotypes—two noble lovers, a spunky English maid with her enthusiastic if naïve boyfriend, and the crude barbarian overseer who would thwart them—into uniquely memorable individuals whose feelings we seem to intuit directly.

This emotional honesty poses a challenge for theater directors, whose attitude toward this work has changed several times in my experience. Until well into the second half of the 20th century (and in provincial performances still), Abduction was presented as a robustly German comic romp. Several generations ago, Giorgio Strehler and others sought to elevate such productions by stripping away tired slapstick routines to reveal the full range and depth of underlying humanist sentiments. Over time, however, most such productions came to focus excessively a stylized dilemma facing Konstanze whether to love Bassa Selim or Belmonte—despite the lack of any textual or musical support for an inner conflict. Over the past decade, the opera has gained new notoriety as the object of Regietheater excess. In search of an underlying social message, Calixto Bieito famously set it as a dystopic story about human trafficking, featuring masturbation, oral sex, urination, and much violence. In a much discussed scene, Osmin hacks up a whore and offers her bloody, severed nipples to Konstanze—an interpretation widely criticized for violating the spirit of Mozart’s music.

Philadelphia’s new production (shared with Treviso) faces the Abduction challenge with a new and intriguing conceit. It resurrects the notion of a “rescue opera”—a popular 18th formula, of which this opera is an example, whereby noble Europeans are saved from oppression and bondage—and seeks to update it with stock characters, styles and settings from silent movies. The Seraglio becomes Constantinople in 1918 (the supertitles anachronistically call it Istanbul), Bassa Selim becomes Ataturk, and Konstanze becomes a British spy seeking to pry secrets from the Turks during World War I. It suggests a fresh set of images, drawn from an era with which a modern audience can better identify, yet also in which individuality, femininity, and the relationship between East and West were being redefined in interesting ways. A promising premise…

Abduction_Phil_03.gifAntonio Lozano as Belmonte, Elizabeth Zharoff as Konstanze, Elizabeth Reiter as Blonde and Krystian Adam as Pedrillo

Yet the production only skims the surface of the concept, with tame results. By the end of the overture, the spy story disappears (just as well, since Konstanze is no spy). At times the background features a silent movie, but this is applied randomly, rather than being exploited consistently to underscore the action. Surely it would not have been hard to find engaging parallels: Belmonte and Konstanze, as well as Pedrillo and Blonde, do resemble the virtuous couples who inhabit silent films, while Osmin does recall villains like Chaplin’s “Big Eric.” Yet the projections provide little more than local color: generic scenes and, at the end, just a quarter hour shot of an old postcard of Hagia Sofia. Beyond the backdrop, the production is remarkably old-fashioned, even provincial, with overheavy reliance on crude gags, garish costumes, and harem girls. A quarter of an hour in, watching Osmin, clad in bright yellow, chasing Pedrillo with a whip, one acknowledges it will be a long afternoon.

Still, a major advantage of the unconventional “movie screen” set design is its theatrical and acoustical intimacy—a plus in this intimate work. It pushes action to the front of the stage, where two ramps permit the singers to cross through the first row of the audience. Thus the burden rests on the singers to carry the show. Yet here, too, the performance gets stuck half-way. Today there is no shortage of great Baroque and Mozart singers, yet one rarely encounters a major house cast as uneven as this one.

Abduction_Phil_04.gifKrystian Adam is Pedrillo with Per Bach Nissen as Osmin

Young soprano and Curtis student Elizabeth Zharoff possesses a warm, even, and well-placed voice, solid coloratura technique, and considerable innate musicality that could take her far in the opera world—and she looks good on stage. Yet Konstanze is a bit of a stretch. In her mid-20s, Zharoff does not quite yet possess the weight and vocal glamor for showpieces like “Martern aller Arten” or “Ach ich liebte” in a big house. She would be more appropriately cast as Pamina, which she will sing next year in Philadelphia.

Never before have I heard a Belmonte who sounds more comfortable in “Ich baue ganz”—the Act III aria often ducked by even the best tenors due to its daunting technical difficulties—than in the two more famous arias of Act I. Spanish Tenor Antonio Lozano brings many things to the role—a voice of reasonable size, clean passagework, and an ardent manner—but not what the role of Belmonte requires above all else, namely noble phrasing and smoothly elegant vocal production. Uneven color and intonation, as well as Spanish-accented German that seems not that of a speaker (let alone native speaker) of the language, weigh him down musically and theatrically.

Polish tenor Krystian Adam sings and acts superbly in the character role of Pedrillo. The young Curtis grad (now in Frankfurt) Elizabeth Reiter is, as her previous work with Philadelphia has shown, a splendid singer on her way up. She sings with a full tone, compelling phrasing, and precise intonation. Yet she seems vocally uncomfortable as Blöndchen, a role Mozart crafted especially for a soubrette with unusually free high notes. Singers with the dark bass voice for Osmin are an endangered species. Nissen sings Osmin at a solid European provincial level, but lacks a booming low D or any other special attribute for the role, though his diction is the best in the show.

Music director Corrado Rovaris conducts crisply, in a style aimed somewhere between the modern and period, and only occasionally let the ensemble slip. Yet the result is neither idiosyncratic nor idiomatic. One waits in vain for the rubato or graceful turn of phrase that would breathe life into this wonderful score.

Andrew Moravcsik

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):