The Abduction From the Seraglio

Reviewed by Holly Bartges

Frequently a necessity for a variety of legitimate reasons, short runs can either be a blessing in disguise or a tragedy. In the case of Opera Colorado’s magnificent production of Mozart’s The Abduction from the Seraglio is a simple unadulterated tragedy wrapped in comedic episodes, the gorgeous set has been stuck from the Ellie Caulkins stage, costumes have been hung, and voices silenced.

Charles Castronovo as Belmonte and Maria Kanyova as Konstanze in Opera Colorado’s 2006 production of The Abduction from the Seraglio. Photo: P. Switzer

Celebrating Mozart’s 250th Birthday, Opera Colorado chose to produce one of his little known, infrequently performed operas. Directed by James Robinson with Scott Terrell conducting the powerful orchestra, the Abduction was the most powerful beautiful opera with its opera stars and singers, with the lighting, and the awesome set that will remain engraved in the minds of everyone who experienced the performance.

Mozart himself must have blown out each of the 250 candles on his gigantic cake with a broad smile of gratitude and appreciation.

In a moment of sheer inspiration, Robinson moved the setting of The Abduction from 16th Century Turkey to the Simpion Orient Express in the 1920s. The breathtaking set designed by Allen Moyer depicts the insides of luxury cars, train compartments and hallways. Lighting designed by Paul Palazzo with the aid of sound gives the impression the train actually moves. Prior to and in between acts, a large map outlining the route from Istanbul to Paris indicates with lights where the train is and how far it has to go to reach Paris. Robinson initially presented this version at the Wolf Trap Festival in 1997 with critical acclaim. Little wonder. It is a masterpiece.

Combining acting and voices in opera is no small trick. All too often the acting suffers because of the demand of the voices or the singers may have the voices but are limited in acting ability. This was definitely not the case in The Abduction. Character development and comedic timing were superbly executed along with the rich voices of the entire cast.

Internationally acclaimed tenor Charles Castronovo took on the role of Belmonte who is desperate to save his fiancé, Konstanze, a Spanish noblewoman, who has been abducted by Turkish pirates along with Blonde, her English maidservant, and Pedrillo, Belmonte’s personal valet. Awestruck by Konstanze’s beauty, the wealthy Pasha Selim holds the three as hostages. The clash of East and West cultures play a significant role in this opera.Mozart was only 26 years old when he wrote The Abduction, which is mind boggling all on its own. He had recently become engaged to Konstanze Weber. The director of the National Singspiel, Gottlieb Stephanie, requested Mozart to compose music for Friedrich Bretzner’s play Belmont and Constance, and the opera premiered in Vienna in 1782 as an immediate success.

An example of the German Singspiel, The Abduction features dialogue that is spoken instead of sung. The arias do not necessarily move the story along, but are intended to reflect the emotions of the characters.

Konstanze has three arias that melt the heart as sung and portrayed by Internationally acclaimed soprano Maria Kanyova. It is difficult to comprehend anyone, anywhere, anytime having the capacity to be able to give any finer performance than Kanyova.

In the comedic arena, it is Osmin, overseer to the harem, a bully in Turkish pants, played and sung to the nth degree by bass baritone Dale Travis who knocks the socks off handing them back folded neatly. All the while maintaining his magnificent tenor voice, Osmin does everything but stand on his head. With the antics surrounding the situation, he comes close. Having eyes for Blonde, Osmin uses his brute strength, and his boorish demeanor, to entice and trick her into loving him. Soprano Amanda Pabyan gives Blonde a sharp comedic spirit strong enough to ward off Osmin’s persistent advances. Her eyes, loyalty and love belong to Pedrillo, wonderfully portrayed by tenor Scott Scully.

Pasha Salim is a spoken role and Samuel Mungo powerfully holds up his end of the bargain with control, power and strength.

For Belmonte to rescue his beloved Konstanze requires secrets, treachery, trickery, timing, surprise, false trust and loyalty. Because of the set, action could take place in two and three areas simultaneously.

Belmonte’s carefully constructed plan to abduct Konstanze, Blonde, and Pedrillo at midnight is foiled. Mongo’s powerful Salim takes over. He has reason to be angry, Konstanze refuses to submit to his bribes of beautiful clothes and jewels, and he discovers Belmonte’s father was the one who ran him out of his territory. This powerful strong man has to realize he cannot have what he wants. Refusing to treat as he had been treated, he takes an about face allowing the three to go. If not handled correctly, this could have become a flippant moment, but it was anything but flippant. It held the depth of a powerful man who could be bigger than anyone thought he could be.

The duet between Konstanze and Belmonte when they are reunited with its gentle tenderness and innocence takes the breath away. The voices clear, harmonic reaching unimaginable depths.

From the carefully choreographed slapstick moments, to the teasing, the clash between East and West, the sense of loss, the magnetism of loyalty, to the heartbreak of separation, the expression of fiery temper and spirit, to honest acceptance of truth and reality, this production of The Abduction is a masterpiece on the part of Robinson, Moyer, Terrell, Palazzo, Castronovo, Travis, Scully, Mungo, Kanyova, and Pabyan and all of Opera Colorado. It is impossible to fathom a finer operatic production anywhere anytime any place. That cannot be said enough. What a way to celebrate Mozart’s 250th Birthday. Sadness continues to hang over the magnificence that the run had to be so short, that because of the short run many were unable to experience the breathtaking thrill of The Abduction of the Seraglio. The one consolation is that Robinson sets the bar higher after each production. His imagination knows no limit. The anticipation of future productions overwhelms.