Mozart: Die Entführung aus dem Serail (Glyndebourne)

Sally Matthews (Konstanze); Edgaras Montvidas (Belmonte); Tobias Kehrer (Osmin); Mari Eriksmoen (Blonde); Brenden Gunnell (Pedrillo); Franck Saurel (Pasha Selim); Robin Ticciati (Conductor); David McVicar (Director);

Director David McVicar’s original-period vision for this Mozartian gem allows its genius to speak for itself, offering a ‘mesmerising, sensitive … outstanding’ portrayal of Enlightenment-era fascination with the East that is both ‘exquisitely acted and sung’, featuring a Konstanze and a Belmonte sung with ‘finesse and bravura’ and a ‘sensationally voiced’ Osmin (The Guardian *****). Comic relief in Glyndebourne’s ‘brilliant production’ is provided by ‘beautifully sung live-wire performances’ of Pedrillo and Blonde, and Robin Ticciati leads the Orchestra of the Age of Enlightenment through a restored, authentic rendition of the critical score with ‘lovely fizz’ and ‘poignant gravitas’ (The Independent).

Reviews

"Mesmerising, sensitive, at times troublingly erotic, the whole thing forces us to rethink a remarkable work. Outstanding." (The Guardian ★★★★★)

"Finely conducted by Robin Ticciati, McVicar’s production of Mozart’s Turkish comedy is a vocal and visual treat." (The Stage ★★★★★)

"How should companies be staging Mozart in the modern era? Come and see." (WhatsOn Stage ★★★★★)

"Vicki Mortimer’s imaginative sets, like McVicar’s insightful production, skilfully tease out the Enlightenment’s fascination with oriental exoticism — more Leighton House than the Alhambra, as it were. Robin Ticciati’s sentient conducting catches the distinctive coloration of Mozart’s score." (The Evening Standard ★★★★)

"... the most exciting orchestral reading since Solti's 1987 version on Decca." (BBC Music Magazine ★★★★)

"First of all, three cheers for David McVicar, who by including most of the dialogue has restored the proper balance between speech and music. This has the remarkable effect of throwing the spotlight on the usually almost marginal character of Pasha Selim, who is in love with his prisoner Konstanze but not given any music to sing. Quite rightly, McVicar reminds us that Selim is not a Turk but a Spaniard who has converted to Islam. The visual aspect is gorgeous, Vicki Mortimer's set, with its many scene changes, evoking a romantic view of the Orient: latticed screens, a garden with potted plants, a forbidding wall with a studded gate. Her costumes, Ottoman or Western, are of a comparably stylish aptness. In the pit, Robin Ticciati conducts the heroes of the OAE in a fleet account of the score that offsets some of the over-long pauses in the dialogue." (Gramophone)

"Die Entführung aus dem Serail was a hit in David McVicar's production. Like a Liotard pastel come to life, it's a traditionalist's turqurie dream, and explores the relationship between Konstanze and Pasha Selim almost forensically: Sally Matthews and Franck Saurel are up to the challenge, in her case aided by technically precise and excitingly smoky, sexy tone. Edgaras Montvidas sings stylishly as Belmonte; but, as ever, one wonders why Konstanze doesn't stay in the harem - it certainly looks more fun. Mari Eriksmoen and Brenden Gunnell have a ball as the servants, and if the cast wasn't that strong Tobias Kehrer would walk away with the show as Osmin, his rolling bass unfazed by the demands upon it. Robin Ticciati leads with panache and easy-going tempi, nothing exaggerated." (Opera Now ★★★★★)