Die Entführung aus dem Serail

He loves Konstanze, but she remains faithful to Belmonte and accepts the threat of torture. An escape attempt by the four of them fails. When Belmonte begs for mercy, the Bassa recognizes him as the son of his arch-enemy. Instead of taking revenge, he shows greatness and gives them all their freedom - out of the conviction that kindness is stronger than retribution.

»It's exciting when the singers often let the actors do the talking. Not because they can't, they speak too, but because they address the question of singing and speaking together,« says director Hans Neuenfels in conversation with artistic director and dramaturge Klaus Zehelein. By doubling all the singing roles with actresses and actors, Neuenfels succeeds in making the actors' inner emotional conflicts effective in highly poetic reflections. In The Abduction from the Seraglio, according to the director, Mozart sets existential questions to music; the production takes up this thread and leads the audience deep into the different emotional levels of the actors. Hans Neuenfels: »The different states of perception, of feeling, of being can take place simultaneously through the splitting up of the characters. We are several at the same time, and this becomes visible through this interpretation, but not in the sense of schizophrenia. Identity is not a fixed quantity. The 'I' is fundamentally unreliable.«

»I will make the symphony, the chorus in the first act and the final chorus with Turkish music,« wrote Wolfgang Amadeus Mozart to his father Leopold on August 1, 1781 about the planned new Singspiel. Mozart implemented the ubiquitous exotic »alla turca« fashion musically with recourse to elements of the popular »Jantischarenmusik« and expanded his orchestra accordingly with instruments such as the bass drum and the triangle. The »exotic« element is only one aspect of this major departure in the genre of the German Singspiel. Carl Maria von Weber's assessment that Mozart had already reached the »maturity level« of his music with the Entführung became famous. In fact, with this score, the 26-year-old presented himself as a complete, yet ingeniously sensitive composer with an incomparably fine sense of musical dramaturgy and great innovative power. The use of terrace dynamics with their rapidly changing forte-piano contrasts, which are more pronounced here than in any other of Mozart's stage works, is exemplary. The work proved to be a challenge even for the most discerning ears: »An awful lot of notes, dear Mozart«, Joseph II is said to have remarked after the first performance. But Mozart knew: »Just as many notes, Your Majesty, as are necessary.«

The so-called "Turkish opera" was a popular and widespread genre in the 18th century. The local color of the Ottoman Empire was appropriated under the broad term "Turkish", which symbolized everything exotic, foreign and different. As early as the end of the 17th century, Jean-Baptiste Lully, for example, wrote works with a "Turkish" influence (e.g. Le Bourgeois gentilhomme), which paradoxically had a direct connection to the Enlightenment: under the concept of the "noble savage", the supposedly nature-oriented, exotic (i.e. foreign) human being - in contrast to the "enlightened, civilized European" - was to be given a higher status by also being attributed good-heartedness and gentleness of character. This, of course, determined the way of life and behavior of Western culture as the universally valid measure of humanity.

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