The Abduction from the Seraglio

The Academy of Motion Pictures Arts and Sciences didn't get it, but Tom Hulce had it right when he played Mozart as part-jokester in the big screen version of Amadeus, as evidenced by the master's sense of humor that suffuses Opera Colorado's production of The Abduction from the Seraglio.

Set aboard the Orient Express in the 1920's, Director James Robinson's artistically impressive and fun-laden romp covers the ground from Istanbul to Paris in Allen Moyer's stunning life-size cutaway rail cars that slide across the stage, providing an elegant and economical backdrop for this shockingly relevant clash of European and Arabic values.

If any of his contemporaries had written such a piece, the story likely would never have made the 200-plus year crossing from the late 18th-Century, but Robinson's clever premise is supported by Mozart's and librettist Gottlieb Stephanie the Younger's modern take on women, love, and spirituality, thus providing plenty of food for thought for contemporary audiences.

The comedy revolves around two European women, Konstanze (a lady) and Blonde (her maid), who are abducted and wooed by the Turkish Pasha Selim and Osmin, his overseer. The men have a hard time of it because Konstanze is in love with Belmonte, a noble, and Blonde is in love with Pedrillo, Belmonte's servant. Meanwhile, Belmonte and Pedrillo conspire to rescue their beloveds.

Maria Kanyova as Konstanze and Samuel Mungo as Pasha Selim Photo: P. Switzer

Maria Kanyova, whose Cio-Cio-San wowed us last summer in Central City, once again steals the show with her soaring soprano as well as her formidable dramatic talents. At the height of the comedy, Kanyova bemoans the torture that the Pasha relentlessly administers to her in the form of tempting jewels, furs, and designer dresses.

Maria Kanyova as Konstanze and Charles Castronovo as Belmonte Photo: P. Switzer

Kanyova's beauty matches up well with Charles Castronovo, whose expressive tenor, handsome features, and relaxed demeanor make him a guy worth pining for. Dale Travis' powerful and resonant bass-baritone and his towering stature make for the formidable Osmin, who strikes fear as the volatile fundamentalist with an penchant for sensory delights. Here, Mozart's and Stephanie's answer to hate masquerading as religion is novel and telling.

Amanda Pabyan as Blonde and Scott Scully as Pedrillo Photo: P. Switzer

Amanda Pabyan's warm soprano and natural manner make Blonde a perfect sensual counterbalance to the refined Konstanze, together combining to provide a full picture of Mozart's and Stephanie's concept of liberated womanhood. Similarly, Scott Scully's humorous and good-natured Pedrillo and pleasant tenor compliments the serious and aristocratic Belmonte. Samuel Mungo is debonair and princely in the spoken role of Pasha Selim.

Scott Terrell deftly leads the Colorado Symphony Orchestra through Mozart's sublime score that overflows with operatic sensibility, lovely melodies, and delightful interludes of luxuriant coloratura.

Opera Colorado's production of The Abduction from the Seraglio plays April 29th and May 2nd, 5th, and 7th. Call Ticketmaster at 303-357-ARTS or visit www.operacolorado.org.

Bob Bows