Themes of fidelity and mercy in Mozart’s 1782 Singspiel might bring to mind similar notions nearly a decade later in Così fan tutti and La Clemenza di Tito. With its witty commentary on servant/master relationships, parallels can be found in Le Nozze di Figaro. All three operas enjoy regular performances within the UK, so it’s good to be reminded of the wealth of musical riches in Die Entführung aus dem Serail – The Abduction from the Seraglio. And this reboot of David McVicar’s staging, first aired at Glyndebourne in 2015, gives every reason why the work should be heard more often.
That said, let’s ignore the questionable pronunciation of the German lengthy spoken text (none of the cast is a native German speaker), and let’s overlook the racial stereotyping within the work’s Christian-Ottoman confrontation that might affront modern sensibilities. Since the opera embodies the late 18th-century fascination with all things oriental, McVicar sets the opera during the time of its composition. Largely discounting historical anachronisms, he is less interested in cultural value judgements than with an exploration of the social forces that undermine freedom, especially those belonging to women. It’s all done with a light touch, where humour and jeopardy (not to say menace) are kept in perfect balance.
Those aspects aside, this staging is a thumping success. Firstly, there is the visual impact of Vicki Mortimer’s handsome sets; sliding screens, romanesque arches and a symmetrical rose garden all point to the opulence of the palace belonging to the Turkish Pasha Selim. Within its imprisoning walls reside his various wives, children and concubines, all colourfully attired in richly detailed and traditional costumes. Meanwhile, the set’s shifting and evocative tableaux are beautifully lit by Paule Constable.
Secondly, this revival is blessed with some exceptional singing with several of the cast relishing their roles. The most demonstrably active amongst these is Michael Mofidian’s sabre-rattling Osmin as the Pasha Selim’s henchman. More comic than malevolent, he’s a topiary chopping, crockery smashing kind of villain who even cartwheels across the stage when hoping to murder Pedrillo. If, by the time of his final aria, his low D only just hits home, his smoky bass/baritone holds up well over a long evening. Only in the long solo “Solche hergelaufne Laffen” might one remember the Emperor Joseph II’s verdict “Too many notes, my dear Mozart!”
He formed a rewarding partnership with Julie Roset’s bubbly Blonde (a sort of 18th century freedom fighter for women’s rights), her easy stage presence, variously coquettish, feisty and teasing, and allied to a crisply lyrical soprano was as sparkling as the sea that bookended the opening and closing scenes. The Act 2 episode where she attempts to impose western manners on the lecherous Osmin is worth the price of Glyndebourne’s entry ticket. Her beau (Osmin’s rival for her affections) is Thomas Cilluffo’s servant/gardener Pedrillo, who is also putty in Blonde’s hands. His Mozartian credentials are heard to impressive effect in his battle aria, where his tenor rings out with firm conviction.
Aside from the buffo characters, Anthony León’s self-important Belmonte is sung with shapely phrasing, his noble bearing not quite disguising an insipid individual. Nonetheless, I enjoyed his “Wenn der Freude Tränen fliessend”, delivered with heartfelt sincerity. His beloved Konstance, enslaved in the Pasha’s palace along with her maid Blonde, is given a characterful portrayal by American soprano Liv Redpath. Her loyalty to Belmonte is sorely tested, and she is by no means immune to the allure of Franck Saurel’s cultured Pasha, who by Act 3 shows off his upper body to such an extent he could be hoping for a role with the Chippendales. There’s a discrete chemistry between the two of them, but her “Martern aller Arten” makes clear her loyalty to Belmonte and a formidable technique, taking the aria’s coloratura and wide range in her stride. After her showstopper, Redpath relaxed and produced much creamy tone in her Act 3 duet with Belmonte.
Last, but not least to the success of this text-heavy Singspiel is the chorus (with their sycophantic hymns of praise to the Pasha) and the Orchestra of the Age of Enlightenment who, under Evan Rogister, illuminate Mozart’s musical riches with great refinement, gamely bringing out all its Turkish exotica. Notwithstanding the absence of any dramatic heights here, this is a must-see production with some outstanding performances.
David Truslove
Die Entführung aus dem Serail
Music: W.A. Mozart
Libretto: Christoph Friedrich Bretzner with adaptations by Johann Gottlieb Stephanie the Younger
Cast and Production Staff:
Belmonte – Anthony León; Osmin – Michael Mofidian; Pedrillo – Thomas Cilluffo; Pasha Selim – Franck Saurel; Konstanze – Liv Redpath; Blonde – Julie Roset; Klaas, a sea captain – Marcus Swietlicki; Wache – Rian Wunderlin
Director – David McVicar; Designer – Vicki Mortimer; Choreographer – Andrew George; Lighting – Paule Constable; The Glyndebourne Chorus; Orchestra of the Age of Enlightenment; Conductor – Evan Rogister
Glyndebourne Festival Opera; Lewes, East Sussex, England, 2 August 2026
Top image: Belmonte (Anthony León) and Klaas, a sea captain (Marcus Swietlicki).
All photos © Glyndebourne Productions Ltd. Photo: Bill Knight