patrikpen: Tolerance and Enlightenment in Music and Vision 22 Settembre

Tolerance and Enlightenment

'Die Entführung aus dem Serail'
at Sagra Musicale Umbra
enthralls GIUSEPPE PENNISI

In Perugia on 6 September 2014, a new critical edition of Mozart's Die Entführung aus dem Serail ('The Abduction from the Seraglio') started a long European tour which will also feature a session in Brussels today (22 September 2014). There the main European authorities will be in the audience. Then, this new edition will be published as a recording on the harmonia mundi label. I attended the 6 September performance in the acoustically perfect Teatro Morlacchi — an ideal setting for recording. It was the inaugural session of the sixty ninth Sagra Musicale Umbra. This year the festival lasts from 6 to 14 September and includes thirteen concerts and a competition for young musicians. As usual, the Sagra is dedicated to 'spiritual music' (read Joy for the Soul, 29 September 2013). This year, on the twenty-fifth anniversary of the fall of the Berlin Wall, the theme is 'Freedom', on the premise that religion is the first line of defense against tyranny as well as authoritarian regimes. This is a distinctive feature in several festivals recalling the beginning of World War I and the demise of the old Europe.

The production is entrusted to the Akademie für Alte Musik Berlin conducted by René Jacobs with a very strong international cast: Robin Johannsen, Mari Eriksmoen, Maximilian Schmitt, Julian Prégardien, Dimitry Ivashchenko and Cornelius Obonya. The chorus 'La Stagione Armonica' is directed by Sergio Balestracci. It is neither a concert version nor a staged or semi-staged performance, but what is technically called une mise en espace: there are neither stage sets nor costumes (the singers wear evening attire) but the acting is very strong and the entire stage is used. There are three reasons for such an approach: more effective recording, easier travel to various European opera houses and concert halls, and an enhanced emphasis on the philosophical meaning of Die Entführung aus dem Serail.

Let us focus on this point, which is the very original contribution of this production. Normally the Singspiel is presented as a turquerie (a farce to mock the orientals) or a 'play for adults' (read Too Clever by a Half, 16 April 2011). Also, even in Germany, the spoken parts are shortened. In this production, the spoken parts are not only presented in their original form but in the last act they are integrated with a section of the play Belmont und Konstanze by Johann André, upon which Christoph Friedrich Bretzner's libretto for Mozart's Singspiel is based. This makes quite a difference to the inner meaning of the work.

The protagonist, Selim Pasha (a spoken role, Cornelius Obonya in this production), was born a Christian in Oran and forced to convert to Islam. His family had undergone all kinds of sufferings by the family of Belmonte (the tenor Maximilian Schmitt). As a Christian-born convert to Islam, Selim was a son of the Enlightenment; thus he would not force Konstanze (the dramatic coloratura soprano Robin Johannsen) to become his mistress. Neither did he allow Osmin (the bass Dimitry Ivashchenko) to compel Blonde (the light soprano Mari Eriksmoen) to undergo his wishes. Konstanze is engaged to be married to Belmonte, and Blonde to Pedrillo (the tenor Julian Prégardien). As many readers know, with the help of Pedrillo, Belmonte enters the Pasha's Palace. They plan an escape by serving a sleeping potion to Osmin, but the project fails. Selim has a choice: either to punish them all (with the death penalty) or to forgive them and let them go. Tolerance, enlightenment and freedom prevail over revenge. The foursome is let free to spread the word that even in the East, tolerance and enlightenment win over other feelings.

René Jacobs' baton was extremely rigorous; there are neither embellishments, as in Nikolaus Harnoncourt's manner, nor the seventeenth century embroidery of Karl Böhm's well-known recording. It may seem dry to hear when accustomed to other interpretations (eg as a farce), but the basic idea is that the Singspiel is not a comedy for music but a dramatic philosophical apologue.

Thus, although he doesn't sing, Cornelius Obonya is the effective protagonist who confronts not only a superb Robin Johannsen, but also himself. Maximilian Schmitt is a good tenor for Mozart roles, but he is a step below Robin Johannsen (as it should be). Mari Eriksmoen and Julian Prégardien form a valid light counterpoint to the density of the three main roles. A moment of comic relief brought by Dimitry Ivashchenko accentuates the dramatic colors of the opera.

Die Entführung aus dem Serail had not been performed in Perugia for several years. The audience was enthralled.

If you cannot catch it on the European tour, try to hear the CD.