The Abduction from the Seraglio - Utah Opera

The Abduction from the Seraglio is one of Wolfgang Amadé Mozart's less-frequently performed operas. Full of western interpretation of Turkish style and culture, it is an interesting work of art as well as provides a historical perspective. What begins as a simple "damsel in distress" story in the hands of Mozart, it is developed into a more complex and sympathetic character study.

Andrew Stenson and Celena Shafer

In Utah Opera's final production of the season, The Abduction from the Seraglio is interesting particularly in the treatment of women. Though the archetypical hero-heroine story, Mozart's treatement of the women is far more complex. His development of Blonde and Konstanze surpasses that of their male counterparts, to where for the time, they are quite self-realized and independent. Even at the most dehumanizing moment of the show, when the men question if their women have been "faithful" even though they are enslaved (the men not concered for the psychological well-being of the women, or the possible reality of their rape), the women show strength in refusing to answer their selfish questioning and even threaten to leave their men if they do not apologize. Celena Shafer commands the role of Konstanze. The role is one of Mozart's most vocally demanding requiring immense flexibility and range. Her vocals are simply stunning in the difficult role.

Andrew Stenson as Belmonte and Tyson Miller as Pedrillo were a good team. They had a beautiful and complimentary color in their voices and sang with ease. Resident artist at the Utah Symphony, Amy Owens, is positively infectious as Blonde, easily stealing the show. Her comedic timing, dazzling vocals, and darling personality are the work of a true professional and exactly what the opera deserves.

Amy Owens

Abduction is a singspiel, meaning that there is spoken dialogue, general absence of recitative, and arias. With dialogue in English, it exposed weakness in many of the singer's acting experience with exception of Amy Owens and Gustav Andreassen who continued to impress. Andreassen as the disgusting Osmin was positively hilarious and convincing as well and impressive. Osmin is one of Mozart's lowest-reaching roles, and one of opera's. He had power and personality, even down to the low D's. Particularly Owens and Andreassen, but the cast as a whole, delivered the Gottlieb Stephanie-libretto with charm and ease, highlighting the comically colloquial text compared to Mozart-La Ponte collaborations.

The singspiel requires more acting than many operas typically ask for. Many of the actors struggled with convincing acting in Abduction. Some chose to really over-act, which had it charm creating a silly atmosphere, but unfortunately the style wasn't consistent or universal, proving the over-acting to be awkward and distracting.

With such excellent vocals, the set was a bit ordinary for Utah Opera's normally phenomenal sets. The costuming was fun, each character getting a color scheme and inspired by 1700s fashions. The big exceptions was Pasha Selim's costume, which was a disaster. Ugly in color and bizarre in design, it didn't match the color scheme idea, or any other coherent idea at all. It is unfortunate that the weakest costume was given to the weakest member of the cast (played by Utah Opera Artistic Director Christopher McBeth).

In the end, Pasha Selim has the opportunity to take revenge on his enemy, Belmonte's father, yet chooses forgiveness and charity instead. This powerful moment comes unexpectedly and is richly rewarding as Mozart gives dimension to even his despicable enemies.

Though the production suffered especially in acting, The Abduction from the Seraglio is a great work that is difficult to do wrong with such talented vocalists as Utah Opera had on the Capitol Theater stage. Utah Opera consistently puts on a fine production and we are looking forward to their exciting 2014-15 season as this one draws to a close.