(Photo: Vincent Pontet)

The new production of Mozart’s “Die Entführung aus dem Serail” (“The Abduction from the Seraglio”) at Théâtre des Champs-Élysées, in coproduction with Opéra Grand Avignon and Insula Orchestra, attempts to philosophize the stereotypical bias and harm of Mozart’s farcical Singspiel about Orientalism.

In the program notes Stage Director Florent Siaud explains, “The imaginary presence of the Orient is so fundamental to the structure that erasing it would feel artificial. We have chosen, instead, to shift its context. The set design draws on the architectural languages ​​of contemporary museums around the Mediterranean, while domination is revealed through the control exerted over sculptures, souls, and female bodies. For the Orient here is not merely a backdrop; it is a dramaturgical and philosophical mechanism. The central question thus becomes one of tacit domination: who wields power, who submits to it, and at what cost? This inquiry shapes the direction of the actors, the interplay of gazes, and the implicit choreography of positions on stage.”

Production Details

“Die Entführung aus dem Serail” (1782) with libretto by Friedrich Bretzner, adapted by Gottlieb Stephanie, is a Singspiel set in Turkey in the 1700s that tells the story of Pasha Selim who buys three Europeans as slaves, who were taken as prisoners by pirates. The leading roles include Konstanze, a young Spanish lady, and her lover Belmonte who’s heroic rescue of her and her maid, Blonde, and his servant Pedrillo from the Turkish seraglio, Selim reveals the harmful abuse of power and ambivalent madness deemed “enlightened clemecy.”

The Singspiel intended to be premiered for the Russian Grand Duke Paul in celebration of the Russian defeat of the Ottomans in the previous decade, and the Ottoman defeat at the siege of Vienna in 1683. Since the Ottomans were defeated, Mozart used this topic widely in his compositions and one of his most famous piano works, “Piano Sonata No. 11” (“Alla Turca”) reinforces his ideas of musical exoticism and Oriental farce.

Thus, staging a new production of this type of work perpetuates “entertaining propaganda” and creates a contemporary wash of “philosophical enlightenment.”

Insula Orchestra’s performance under the direction of Laurence Equilbey was strategic and honored Mozart’s intentions and notations through precision. The addition of Sound-Effect Artist Samuel Hercule on house right amplified the farcical sounds and gestures of the stage choreography with aplomb.

However, the clinking and pouring sounds of alcohol into the glasses of the women that were eerily seated at separate small tables while wearing sequined short dresses and doing lines of cocaine on stage only contributed to the overall point about of how Mozart’s Singspiel is severely disturbing. Celebrating the choreography of a group of female sex workers numbing out in a contemporary setting is unfortunately one of the many low points of this production.

An additional low point was when Ante Jerkunica as Osmin was bound and gagged by the sex workers in an attempt to re-establish the power play in the seraglio. His body presented on a low table in the middle of a group of white leather couches like a beast-for-the-feast fell flat.

The finale when black and white video projections were used to show everyone’s face on camera while Uli Kirsch as Selim made his final decision about “clemency” attempted to examine this work under a philosophical microscope without any real sustenance or value. Zooming in on a problem does not realize the solution, and making one of Mozart’s many problematic works–this debuted just before “The Magic Flute,” by the way–more contemporary only adds fuel to the fire.

Cast Highlights

Soprano Jessica Pratt as Konstanze did her best under this demanding role. Her vocal stamina sustained her performance throughout the night. However, there was a sense of lackluster in her presence and chemistry with her surroundings. It was almost like she was not in her body, which felt more like a result of being in this Singspiel than anything. Her aria “Martern aller Arten” showcased her brilliant vocal range but the underlying meaning of this aria was hard to escape through the beauty of her voice, especially her final phrase, “Zuletzt befreyt mich doch der Tod” (“In the end, death sets me free”).

Amitai Pati as Belmonte came across as elusive in his performance and his connection with Pratt was never fully realized. His voice and acting skills were a gentle contrast to the heavy subject matter he was presenting.

Ante Jerkunica as Osmin was dressed in a dark colored suit paired with dark sunglasses at times, making his role as the stealth keeper and surveyor of the seraglio like a maffia boss. Jerkunica’s vocal projection was solid and his acting in this role commanded attention, especially when Osmin is seen objectifying and casting judgements on the women he either lets into the Pasha’s brothel or not, glorifying the behavior of a “man in power over women.”

Brenton Ryan as Pedrillo was a strong character in his unusual role within this production that had him dress in a cowboy-clown motif at one point. The farcical delusion of this role was heavily played into and there were moments when it distracted one from the music.

Manon Lamaison as Blonde was full of life and energy in her role, making the most out of what she was given to work with. Lamaison’s voice matched Blonde’s will and motivation to escape the seraglio’s oppressiveness.

Uli Kirsch as Selim felt aloof in his portrayal and his commands, while stern and erratic, were confusing in this production’s ambivalent intent. The idea of celebrating clemency is confusing and Mozart’s Singspiel exposes more than meets the eye as to where the traditional opera canon goes sideways.