Die Entführung aus dem Serail - Schedule, Program & Tickets

Die Entführung aus dem Serail

musical direction
Antonello Manacorda
Staging
Hans Neuenfels
stage
Christian Schmidt
Costumes
Bettina Merz
light
Stefan Bolliger
Dramaturgy and directorial assistance
Henry Arnold
Bassa Selim
Christian Nickel
Constance
Lisette Oropesa
Konstanze - actress
Emanuela von Frankenberg
blonde
Regula Mühlemann
Blonde - actress
Stella Roberts
Osmin
Goran Juric
Belmonte
Daniel Behle
Belmonte - actor
Christian Natter
Pedrillo
Michael Laurenz
Pedrillo - actor
Ludwig Blochberger

Too good for our ears, and a huge number of notes, dear Mozart, "is what Joseph II is supposed to have said about" The Abduction from the Seraglio "- to which Mozart replied:" Just as many notes, Your Majesty, as are necessary. " Exchange of words - it can be found in the first Mozart biography published by Franz Xaver Niemetschek eight years after the composer's death - cannot be proven beyond doubt. Nevertheless, the skeptical praise imputed to the emperor bundles the reservations of contemporary reviewers. They capitulated to the musical overabundance of the score: Mozart took the subject too seriously, it was said at the time, his complex harmonies overwhelmed instrumentalists and listeners alike and "didn't belong in the theater."

Indeed, Mozart breaks the genre of a play with song interludes in favor of a musical world theater: The couple of lovers Belmonte and Konstanze, who are torn from each other, sound out their existential dangers in musical proximity to the opera seria, while in duets, trios and quartets the ensemble art of the opera buffa for Blossom is coming, with three-dimensional contrasts between the tall figures and the figures from the servants' position. But songs and romance from the tradition of the French opéra comique also come into their own. The musical design of Osmin is completely unprecedented. As a guard over the country house of Bassa Selim, he provokes the ridicule as well as the fears of the Europeans detained there. Because behind his mask of voracity, drunkenness and polygamy peeps out no one other than Bacchus, the god of intoxication, who cannot be brought under control by any rational discipline. He is one of those who cannot be integrated who - like Elettra in Idomeneo or the Queen of the Night in the Magic Flute - have to be expelled from the community of the enlightened at the end of a piece: “But just look at the animal there, whether you can endure something like that. ”Mozart spices up Osmin's grossian excesses with the use of“ Turkish music ”: triangle, cymbals, bass drum and flageolet, a relative of the recorder playing in the high and highest registers. Mozart fuses all these stylistic elements into a great synthesis ...

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