(reviewed at the Theatre Royal, Norwich on 18 November)
Mozart’s first adult success in Vienna was also one of the highlights of this year’s Glyndebourne Festival. David McVicar’s production directed for this autumn’s Glyndebourne Tour by Ian Rutherford gives us a far more complete version of the spoken text than is usual nowadays; one effect is to bring Pasha Selim (Franck Saurel) centre stage.
SeLim is, of course, a spoken role. Saurel displays all the character facets of this complex personality, a convert to Islam as much through circumstances as through initial intention. There’s an erotic tension to his scenes with Ana Maria Labin’s marvellously sung Konstanze – she negotiates “Martern aller Arten” flawlessly – which suggests that her relationship with Tibor Szappanos will never quite resume its old pattern.
Szappanos sings Belmonte’s arias impeccably, but one cannot help feeling that he is the most nebulous character of the story. Osmin is a gift of a part for any singer who can act as well as encompass the deepest notes of the part, notably in “Solche hergelaufne Laffen”, and Clive Bayley does it superbly. Rebecca Nelsen’s Blonde is a servant-girl with attitude and a way with kitchen paraphenalia (fresh eggs included) which wouldn’t disgrace any pantomime slop-scene.
Her Pedrillo is James Kryshak offering a lilting “In Mohrrenland” in the foiled abduction scene and holding his own in the frught exchanges with Osmin. Vicki Mortimer’s set glides effortlessly through a deft arrangement of lattice-screens; Selim’s harem is populated by an interesting selection of women, all under the watchful gaze of Daniel Vernan’s overseer. The conductor is Christoph Altstaedt.
“Die Entführung aus dem Serail” is also at the Theatre Royal, Norwich on 21 November.