Konstanze (Emily Casey) tells the Pasha (Peter Burroughs) about Belmonte and rejects the Pasha’s offer to “accept his love” even as she is willing to die for hers. Photo courtesy of Bel Cantanti Opera.
“It is a far greater pleasure to repay injustices suffered by good deeds than to compensate evil by more evil.” Thus speaks the voice of Enlightenment reason in Mozart’s “The Abduction from the Seraglio” (Die Entführung aus dem Serail), the current Bel Cantanti production. Opera lovers can experience this fabulous show at the Bender JCC of Greater Washington in North Bethesda.
…beautiful to the eye, the ear, and the heart…
The plot revolves around two women, a Spanish noblewoman (Konstanze) and her English maid (Blonde), who find themselves captive at the Court of Bassa Selim, the Pasha. Tensions are running high between the Ottomans and the Europeans. Konstanze’s fiancée, Belmonte, and her servant, Pedrillo, labor to rescue them. While this opera is not performed nearly as often as Mozart’s “The Magic Flute” and “The Marriage of Figaro,” the wit and political intrigue here are similar. Indeed, a major virtue of “The Abduction from the Seraglio” is its representation of Enlightenment values and especially how the Ottoman ruler turns out to be more humane and forgiving than the Europeans.
In this production, soprano Emily Casey offered a standout performance as Konstanze. Her voice soars as she sings plaintively of her love of Belmonte and regret for a misunderstanding between them. As Belmonte, Christopher Plaas’ sonorous tenor voice lends a beautiful opening to “The Abduction,” for his is the first character on stage, and he effectively sets the mood for the ensuing story. We especially enjoyed the performance and singing of Kevin Short, who adds a beautifully resonant bass voice to the proceedings while, at the same time, living out the full comic potential of his character Osmin, the Pasha’s overseer. Similarly, soprano Catherine Wethington (Robin Steitz in some performances) and tenor Daniel Sampson portray comic characters with great warmth, enhancing the wonderful musicality of the production. Peter Burroughs as the Pasha is likewise in fine form, rounding out a wonderful cast.
One very engaging part of the performance is the fascinating interplay between the two captive women. Both push back against their oppressors (Konstanze against the Pasha and Blonde against Osmin), but each does so in differing and evolving ways over the course of the show. Blonde is forceful and physically dramatic, often speaking with her hands, body language, and gestures, while Konstanze resists in ways that are more internal, yet equally memorably.
Great humor is present, a major strength of the production. This is especially true for Osmin, particularly in one funny scene in which he attempts to hide an entire Turkish coffee pot in his coat and drink straight from the spout. There are also fun moments when the characters break the “fourth wall” and make jokes directed towards the orchestra below them, beyond the space of their story and into that of the audience.
The production is notable for how it achieves its effectiveness using relatively simple but beautiful sets designed by Ksenya Litvak, offering an ethereal feel to the performance. Props designer Peter Burroughs has used great ingenuity in creating multi-use props. Conductor and keyboardist Katerina Souvorova energetically leads the ten-piece orchestra. While minimalist, the entire production is truly elegant. At the same time, the costumes are exquisite, evoking both Mozart’s Rococo era as well as period perceptions of the exotic “East.” While the singing is entirely in its original German (surtitles are used), the use of English during spoken portions renders the work accessible and enjoyable to all. Catrin Davies’ work as stage director is superb and fully in tune with the complex interpersonal relationships. She focuses on exploring the Pasha as the most magnanimous person on the stage, making him a viable love interest for Konstanze.
“The Abduction of the Seraglio” is important not only because of its beautiful music, but also because of its message, both for Mozart’s time period and for our own. The show highlights the best of eighteenth-century Enlightenment values; a political and cultural standoff is resolved not by violence but through tolerance and reason. Dr. Souvorova similarly points out Mozart’s perception of women as a salient feature of the opera: “There were two Konstanzes in Mozart’s life, a real one (his wife of that name) and the one whom he created for this production. Mozart loved both, and they inspired him both. In the Konstanze of the ‘Abduction,’ Mozart found his ideal of the woman as strong, faithful, and beautiful. Likely the qualities of his wife inspired him to achieve these ideals in the opera.” Another significant character for Dr. Souvorova is the Pasha, for she maintains: “Every phrase that Selim utters speaks about wisdom, honesty, and sincerity of feelings and honor. He does not force Konstanze to love him, although he has her in his complete power.”
Bel Cantanti Opera’s production of “The Abduction from the Seraglio” is beautiful to the eye, the ear, and the heart. It is a story which is as interesting and relevant as an examination of our preconceived notions of other people, societies, and cultures today as it was when it was first performed more than 240 years ago.
Running time: Two hours and thirty minutes, with one 15-minute intermission.
“The Abduction from the Seraglio” (Die Entführung aus dem Serail) runs through February 12, 2023 in the Kreeger Auditorium at Bender Jewish Community Center of Greater Washington, 6125 Montrose Road, Rockville, MD 20852. Tickets can be bought online through Eventbrite here and at the door. For more information about tickets, call (240) 230-7372 0r email tickets@belcantanti.com. Masks are optional.
