The Abduction from the Seraglio

Wolfgang Amadeus Mozart

'There are just as many notes as there should be'

24 26 29 June
1 7 July
Bournemouth Symphony Orchestra Book now
Overview

The Abduction from the Seraglio

Composer – Wolfgang Amadeus Mozart (1782)

Librettist –  Christoph Friedrich Bretzner

Bournemouth Symphony Orchestra

New translation by David Parry

SUNG IN ENGLISH

With five-star reviews across the board for Albert Herring, John Copley returns to direct Mozart’s first comic masterpiece in a specially commissioned English translation by David Parry. Jean-Luc Tingaud also returns to conduct the Bournemouth Symphony Orchestra in Mozart’s life-enhancing score. No recitatives. Spoken dialogue separating arias and ensembles of wonderful brilliance, Seraglio was an instant hit. It is light-hearted, comic, and deeply affecting. Some of the music for the singers requires extreme vocal virtuosity. You will not be disappointed. The heroic Belmonte tries to rescue his beloved Konstanze from the Pasha’s country-house harem. The ending is heart-warming.

Production Team
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Jean-Luc Tingaud

Conductor

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John Copley

Director

See bio

Tim Reed

Designer

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Kevin Treacy

Lighting

Jean-Luc Tingaud was born in 1969 and studied with Manuel Rosenthal, himself a pupil of Maurice Ravel. Notable opera engagements have included SaphoPénélopeLe roi malgré lui(Wexford Festival), Roméo et Juliette (Lisbon), Werther (Martina Franca), La damnation de Faust(Reims), Pelléas et Mélisande and Carmen (Toulon), Le siège de Corinthe (Bad Wildbad Rossini Festival), Faust (Macerata), The Turn of the Screw (Lille), Dialogues des carmélites and Madama Butterfly (Pittsburgh), Pelléas et Mélisande (Prague), Roméo et Juliette (Arena di Verona), La fille du régiment (Madrid) and The Pearl Fishers (English National Opera).

John Copley first appeared with the Royal Opera at the age of 15 as an actor and later became their Principal Resident Director.   He has directed opera throughout the world during a career that spans over 50 years.   John has worked with all the great singers and conductors and continues to share his expertise with young singers in his productions for the Royal Academy and Royal College of Music.

Tim Reed has an international reputation as an opera and theatre designer. Opera includes the Paris Opera premiere of Docteur FaustusL’Ormindo for Netherlands Opera, Verdi Macbeth in Madrid, La traviataThe Turn of the Screw and Hänsel und Gretel in Israel, and in Dublin, Cosi fan tutteDer RosenkavalierDie Fledermaus and La traviata. He has worked extensively in Sweden designing L’elisir d’amore for Gothenburg Opera and The Coronation of Poppea and The Marriage of Figaro for Norrlands Opera in Umeå. Theatre work includes The York Mystery Cycle with Steven Pimlott, The Beaux’ Stratagem and The Field for the AbbeyExit, Entrance and The Shadow of a Gunman for the Peacock, and Happy Days and The House of Bernarda Alba for the Gate Theatre, Dublin.

Kevin designs for opera, theatre and dance. Opera designs include: Salome, directed by Oliver Mears; Carmen (Nevill Holt, directed by internationally acclaimed choreographer Ashley Page OBE); L’enfant et Sorteleges (Royal Festival Hall, with the Philharmonia Orchestra conducted by Essa-Pekka Salonen); MacbethThe Bear, The Flying Dutchman, Tosca, L’Elisir d’Amore (NI Opera/Opera Theatre Company); Agrippina (IYT); 5 I Act Opera’s,part of the 2012 Cultural Olympiad (MAC Belfast); Turn of The Screw, (NI Opera & Buxton Festival 2012; Kolobov Novaya Theatre, Moscow 2014); Orpheus in the Underworld (NI Opera/Scottish Opera);  L’Enfant et Les Sortlieges  (Philharmonia Orchestra, Royal Festival Hall, Dir. Irina Brown); Faramondo (Handel Festspiele, Göttingen, Dir. Paul Curran); La Boheme/Turn of the Screw (Nevill Holt, Dirs. Oliver Mears & Ashley Page) and Orango (Royal Festival Hall, Dir. Irina Brown, Conductor Esa-Pekka Salonen).

Cast
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Kiandra Howarth

Konstanze

See bio

Daisy Brown

Blonde

See bio

Ed Lyon

Belmonte

See bio

Paul Curievici

Pedrillo

See bio

Jonathan Lemalu

Osmin

London based Australian lyric soprano Kiandra Howarth graduated with a Bachelor of Music from the Queensland Conservatorium of Music in 2010 and went on to be a company artist at Opera Australia.

In 2012 Kiandra studied at the Mozarteum Institute in Salzburg in where she performed the role of La Contessa Le Nozze di Figaro in a new production directed by the late Eike Gramss. Subsequently she participated in the 2013 Salzburg Festival Young Singer’s Project performing Konstanze Die Entführung aus dem Serail für Kinder, Pamina Die Zauberflöte für Kinder, der Friedensbote Rienzi and Una voce dal Cielo Don Carlos conducted by Sir Antonio Pappano.

She was a member of the Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden from 2013-15. Whilst on the programme Kiandra performed and understudied many roles, including Eine der Kinderstimmen Die Frau ohne Schatten, Echo Ariadne auf Naxos, Fiordiligi Così fan tutte, Contessa Ceprano and Gilda Rigoletto, Giannetta and Adina L’elisir d’amore, Soeur Constance Les Dialogues des Carmélites,  Juliette Roméo et Juliette, Susanna Le Nozze di Figaro, Mimi La boheme, Nannetta Falstaff, Ilia Idomeneo and Pamina Die Zauberflöte.

After graduating from the Jette Parker Young Artist Programme in July 2015, Kiandra was awarded the ‘Culturarte Prize’ in the 23rd Edition of Plácido Domingo’s Operalia – The World Opera Competition which was held at The Royal Opera House, Covent Garden. She then returned to the Royal Opera House for the 2015/16 season to cover the role of Zerlina Don Giovanni on a tour to Japan and reprised the role of Echo Ariadne auf Naxos in the acclaimed Christof Loy production.

In December 2015 Kiandra made her house role debut at Theâtre an der Wien performing the role of First Niece in a new production of Peter Grimes, directed by Christof Loy which won the award for ‘Best New Production’ at The 2016 International Opera Awards.

Recent and future engagements include Fiordiligi Cosi fan tutte for West Green Opera, debut at Wigmore Hall for the Samling Artist Programme’s 20th Anniversary Concert,   Mozart’s Requiem with the Queensland Symphony Orchestra, Donna Anna  Don Giovanni at Theater Basel, the Opéra de Nancy and Opera de Luxembourg,  2nd flower maiden Parsifal in Baden Baden and Berlin with the Berlin Philharmonic under Sir Simon Rattle, Lauretta Gianni Schicchi for Western Australian Opera,  Konstanze  Die Entführung aus dem Serail for The Grange Festival, Pamina at the Teatro dell’Opera in Rome as well as a performance of the Sea Symphony at Salisbury Cathedral

Daisy Brown studied at Laban Trinity and her most recent engagements include Masha The Queen of Spades‚ Tweedle Dee Alice’s Adventures in Wonderland and Mabel The Pirates of Penzance (Opera Holland Park)‚ performances of the title role The Snow Maiden‚ Adina The Elixir of Love Community Tour and Karolka Jenufa (Opera North)‚ Frasquita Carmen (Mid Wales Opera and Nevill Holt Opera)‚ Amor Orfeo ed Euridice (Buxton Festival Opera)‚ Daniel Susanna (Iford Arts)‚ Susanna Le nozze di Figaro (Opera Vera)‚ Emmie Albert Herring (Mid Wales Opera)‚ Pamina The Magic Flute‚ directed by Kit Hesketh-Harvey and Cis Albert Herring for the Britten Pears Young Artist Programme‚ and Kiss me‚ Figaro! (Merry Opera Company -nominated for the Off West End Award for Best Female Lead).

 

Ed Lyon studied at St John’s College Cambridge, the RAM and the National Opera Studio. He has a wide repertoire ranging from the baroque to contemporary music and has appeared in many of the world’s leading opera and concert venues including the ROH, Glyndebourne, Bayerische Staatsoper, Netherlands Opera, Teatro Real Madrid, Edinburgh, Aix, Holland and Aldeburgh Festivals, Théâtre du Châtelet Paris, BAM New York, Theater an der Wien and the BBC Proms, with conductors including Antonio Pappano, William Christie, René Jacobs, Ivor Bolton, Emmanuelle Haïm, Teodor Currentzis and Christian Curnyn.

Past highlights include extensive tours with Les Arts Florissants and William Christie including Paris, London, Amsterdam and New York in repertoire including the title roles in Lully’s Atys, Rameau’s Pygmalion and Hippolyte and Charpentier’s Actéon, the title role in Monteverdi’s Orfeo at the Aix Festival with René Jacobs, the title role in Rameau’s Hippolyte et Aricie and Purcell’s Fairy Queen for Glyndebourne and Pane/La Calisto and Lysander/A Midsummer Night’s Dream for the Royal Opera, and Haydn’s L’anima de filisofo with Currentzis.

Recent and future projects include title role in Denisov’s L’écume des jours (Stuttgart Opera), L’Ormindo (ROH at the Globe), Don Ottavio/Don Giovanni and Lurcanio/Ariodante (Scottish Opera), Freddy/My Fair Lady (Châtelet, Paris), Steva/Jenufa (Opera North), Ariadne auf Naxos, Tristan und Isolde, Der fliegende Holländer and Tannhäuser  (ROH), Jaquino/Fidelio  (Madrid), Don Alonze/L’amant Jaloux and Septimus/Theodora (Pinchgut Opera Sydney), world premiere of Lens’ Shell Shock (Brussels),  Alessandro / Eliogabolo for Netherlands Opera, Eduardo/ Ades’ Exterminating Angel (Salzburg Festival and Royal Opera House), Tamino for La Monnaie, Jupiter/Semele (Karlsruhe) a European tour of The Diary of One who Disappeared in a staged production with Musiktheater Transparent, Evangelist / St Matthew Passion with the Bach Choir as well as many concert performances with leading orchestras and ensembles internationally.

Paul Curievici made his debut with the Royal Opera House Covent Garden as Jack Worthing in Gerald Barry’s The Importance of Being Earnest, a role he is reprising for the company at the Barbican Theatre and with the New York Philarmonic at the Lincoln Center. Other recent performances and future plans include Raul in The Exterminating Angel for the Royal Danish Opera Copenhagen. creating the role of Eames in The Virtues of Things for the Linbury Theatre at ROH, Gérard in Philip Glass’ Les Enfants Terribles for the Royal Opera and Royal Ballet at the Barbican, Vanya Kudras in Katya Kabanova for Opera Holland Park, Basilio and Curzio in The Marriage of Figaro for Scottish Opera, the title role in Faust for Clonter Opera, and creating the role of Titorelli in Philip Glass’ The Trial for ROH Linbury. He made his debut as Sam Kaplan in Street Scene at the Young Vic, reprising the role at the Theatre du Châtelet, Paris, and the Liceu, Barcelona. On the concert platform Paul sang Luzio in Wagner’s Das Liebesverbot for the Chelsea Opera Group, 2nd Jew and Slave in Salome for both Bournemouth Symphony Orchestra and Orchestre National de Lyon, and Tierhändler in Der Rosenkavalier for CBSO.

Jonathan Lemalu, a New Zealand born Samoan, is already at the very forefront of today’s young generation of singers.

He is a joint winner of the 2002 Kathleen Ferrier award and the recipient of the 2002 Royal Philharmonic Society’s Award for Young Artist of the Year.

His roles include Papageno, Figaro, Leporello, Masetto, Rocco, Bottom, Colline, Porgy, Basilio, Neptune, Saul, Zaroastro, Rodomonte, Nourabad, Queequeg Moby Dick and Bluebeard. The opera houses where he has worked include the Royal Opera House, Covent Garden; English National Opera; Opera de Lyon; Opera Australia; Cincinnati Opera; San Francisco Opera; The Dallas Opera, Seattle and The Chicago Lyric; The Metropolitan Opera; the Staatsoper of Munich and Hamburg; the Festspielhaus Baden-Baden; and the Glyndebourne, Salzburg, Styriarte, Edinburgh and Gergiev Festivals.

His concert and recital performances span both classical and contemporary repertoire and include the Berlin, New York, Rotterdam, Hong Kong, Strasbourg and Los Angeles Philharmonic Orchestras, and the New Zealand, London, Boston, Chicago, San Francisco, Toronto, Paris and Tokyo Symphony Orchestras with conductors that include Davis, Dutoit, Gergiev, Harding, Harnoncourt, Mackerras, Mehta, Norrington, Pappano, Rattle and Summers.

Jonathan’s debut recital disc was awarded the Gramophone Magazine Debut Artist of the Year award. He subsequently released his first solo recording, with the New Zealand Symphony Orchestra, and then a recital disc with Malcolm Martineau, also featuring the Belcea Quartet.

Synopsis
Act One

Pasha Selim has bought three slaves from pirates – Konstanze, a young Spanish lady; Blonde, her English maid; and Pedrillo, who is the servant of Konstanze’s fiancé́, Belmonte, and in love with Blonde. Belmonte has traced them to the pasha’s palace, where Konstanze has become Pasha’s favourite. The pasha has made Pedrillo his gardener and has given Blonde to Osmin, his palace overseer.

 

At the palace gate, Belmonte meets Osmin, who treats him coolly and flies into a rage when Belmonte asks about Pedrillo, Osmin’s rival. Osmin drives Belmonte away and then rants at Pedrillo when he suggests that they should finally make peace. Belmonte returns and learns from Pedrillo that the pasha has fallen in love with Konstanze but will not force himself on her. Pedrillo will try to arrange a meeting between Konstanze and Belmonte and an escape by boat with Blonde.

 

Konstanze returns from a pleasure trip with the pasha. He has been treating her with respect but she cannot forget Belmonte and keeps rejecting his advances. Pedrillo introduces Belmonte to the pasha as a promising young architect and Selim welcomes him. Osmin tries to bar the way as Belmonte and Pedrillo enter the palace, but they force their way past him.

Act Two

In the palace garden, Blonde explains to Osmin how a European woman should be treated. Konstanze finds Blonde and laments her sad situation. When the pasha again asks her to marry him, she tells him she would prefer torture, even death, to betraying her fiancé. Blonde and Pedrillo discuss the escape plan: they will get Osmin drunk and all four leave on Belmonte’s ship. Even though Osmin’s religion forbids him to drink wine, Pedrillo has no difficulty in getting him drunk, leaving the coast clear for the two couples to meet.

Act Three

That night, Belmonte and Pedrillo come to the ladies’ window with a ladder. Pedrillo sings a serenade as the signal for escape, but this wakes Osmin, who is not too hungover to realise what is going on. The four are locked up. When brought before the pasha, Belmonte suggests he collect a ransom from his wealthy family. At the mention of this name, the pasha realises that Belmonte is the son of an old enemy, the man who exiled him from his own country. He decides to repay evil with good, freeing Konstanze and Belmonte, and even Blonde and Pedrillo. The grateful couples praise their benefactor as they prepare to set sail.