THE HANGOVER REPORT – James Levine leads an ideal account of Mozart’s DIE ENTFÜHRUNG AUS DEM SERAIL

met-opera-die-entfuhrung-aus-dem-serailJohn Dexter’s utterly charming 1979 production of Mozart’s Die Entführung aus dem Serail returned last night to the Metropolitan Opera featuring some sublime work from Maestro James Levine and the mostly young cast. Also known to opera lovers as “The Abduction from the Seraglio”, Mozart’s early work tells the story of four Spaniards – two aristocrats and their two servants – who succeed in fleeing a Turkish harem through the mercy of the pasha (this theme of inter-cultural/religious tolerance and understanding is also explored in the revival of the rarely-performed Nathan the Wise by Gotthold Ephraim Lessing, which you can currently catch at Classic Stage Company; coincidentally and fascinatingly, both were products of the same Germanic society).

I’ve seen two previous productions of Entführung and left both times not fully satisfied; in many ways, the opera is a prototype for his later, more mature Da Ponte collaborations. Mr. Dexter’s production, which strikes me as the most successful of the bunch, makes a strong case for the opera by basking in its youthful energy and joyous storytelling. No overlayed meanings here. The production looks refreshingly traditional with its simple, two-dimensional painted backdrops and colorful costumes (both courtesy of designer Jocelyn Herbert). Mr. Dexter also does well by staging most of the scenes downstage, front and center, maximizing the intimacy and impact of this uncomplicated, straightforward opera.

All-in-all, this performance of Entführung, which marks Mr. Levine’s final opera of the season, was the most inspired rendition of a Mozart opera I’ve seen since, well, Mr. Levine himself returned to the Met podium two seasons ago (after a number of years struggling with a couple of health issues) with a transcendent account of Così Fan Tutte. I’ve rarely seen Mr. Levine so energetic in the pit as he was last night, and the mighty Met orchestra responded lovingly. Every moment was carefully considered, resulting in a reading that was at once buoyant and transparent, unlocking a deeper chord that’s sometimes elusive in Mozart’s music. I was deeply moved by Mr. Levine’s ability to so effortlessly and naturally transmit Mozart’s generosity of spirit and deep love of humanity, especially in a house as large as the Met.

For this run of Entführung, the Met has assembled an able cast of mostly young singer-actors. Tenor Paul Appleby’s sweet, effortless tenor imbued the role of Belmote with a dignified nobility that befits the character’s aristocratic status. In the luscious role of his kidnapped Konstanze, soprano Albina Shagimuratova delivered a luxurious vocal performance that did the showiness of the role justice. Soprano Kathleen Kim and tenor Brenton Ryan’s bright singing and sprightly acting brought the roles of Blondchen and Pedrillo, the two servants, to vivid life. As the oafish Osmin, Hans-Peter König lit the Met stage with his delicious bass and gave one of the most hilarious performances in an opera I’ve seen; his comic timing, time and time again, was just about perfect. Finally, in the strictly speaking role of the Pasha, Matthias von Stegmann, returning to the role, brought a grounded and touching humanity to the lovelorn Turk.

There are only four performances left in this brief run. Don’t miss your chance to catch some world class Mozart.

HIGHLY RECOMMENDED

 

DIE ENTFÜHRUNG AUS DEM SERAIL
Opera
The Metropolitan Opera
3 hours, 20 minutes (with two intermissions)
Through May 7

Categories: Music, Opera

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