❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Wolfgang Amadeus Mozart (1756-1791) Die Entführung aus dem Serail Opera. 🎧 *Find this recording in our Spotify playlist* : spoti.fi/2XNn4Kk *Click to activate the English subtitles for the presentation* (00:00-02:14) 00:00 Ouvertüre ERSTER AUFZUG 04:33 Hier soll ich..Aber wie soll ich in den Palast kommen? (Belmonte) 07:09 Wer ein Liebchen hat gefunden...Vawünscht seist du... (Osmin/Belmonte) 14:02 Das scheint auch so ein Schurke (Osmin/Pedrillo) 14:39 Solche hergelaufne Laffen (Osmin) 18:57 Was bist du für ein grausamer Kerl! (Pedrillo/Osmin) 19:35 Geh nur, verwünschter Aufpasser (Pedrillo/Belmonte) 20:58 Konstanze, dich wieder zu sehen, dich! (Belmonte) 25:55 Herr, geschwind zur Seite!...Singt dem großen Bassa Lieder (Pedillo/Chor) 27:43 Immer noch traurig, geliebte Konstanze? (Selim/Konstanze) 28:29 Ach ich liebte, war so glücklich (Konstanze) 33:44 Ihr Schmerz, ihre Tränen (Selim/Pedrillo/Belmonte/Osmin) ZWEITER AUFZUG 36:55 Gift und Dolch... Durch Zärtlichkeit und Schmeicheln 40:33 Zärtlichkeit? Schmeicheln? 41:36 Ich gehe, doch rate ich dir...Ach, wie fraurig... (Osmin/Blonde) 45:18 Welcher Kummer herscht...Traurigkeit (Konstanze) 54:13 Mein bestes Fräulein... (Blonde/Konstanze/Selim) 55:12 Martern aller Arten (Konstanze) 1:03:59 Woher hat sie auf einmal den Mut? (Selim/Blonde/Pedrillo) 1:05:05 Welche Wonne, welche Lust (Blonde) 1:07:35 Ach, wenn es doch schon...Frisch zum Kampfe! (Pedrillo) 1:10:38 Na, hier geht's ja lustig zu! 1:11:49 Vivat, Bacchus! (Osmin/Pedrillo) 1:13:57 Das ist wahr - Wein... (Osmin/Pedrillo/Belmonte) 1:14:47 Ach, Belmonte, ach mein Leben! (Konstanze/Belmonte/Pedrillo/Blonde) DRITTER AUFZUG 1:25:24 Wenn der Freude Tränen fließen (Belmonte) 1:29:48 Pedrillo! Ist alles ferüg? (Belmonte/Pedrillo) 1:30:09 Im Mohrenland gefangen war ein Mädchen (Pedrillo/Belmonte/Osmin/Blonde) 1:33:48 Oh, wie will ich Mumphieren (Osmin) 1:37:14 Was gibt's Osmin? (Selim/Osmin/Konstanze/Belmonte) 1:39:13 Welch ein Geschick! (Belmonte/Konstanze) 1:46:47 Nun, zitterst du, erwartest du dein Urteil? (Selim/Belmonte/Pedrillo/Osmin) Konstanze: ANNELIESE ROTHENBERGER (soprano) Blonde: LUCIA POPP (soprano) Belmonte: NICOLAI GEDDA (tenor) Pedrillo GERHARD UNGER (tenor) Osmin GOTTLOB FRICK (bass) Selim LEOPOLD RUDOLF (spoken role) Chor der Wiener Staatsoper Wiener Philharmoniker Conductor: JOSEF KRIPS Recorded in 1966, at Vienna 🔊Find CMRR's recordings on SPOTIFY : spoti.fi/3016eVr 🔊Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 SYNOPSIS The opera is set in Turkey, in the grounds of Pasha Selim's palace by the sea. Overture. ACT ONE Belmonte, a young Spanish nobleman, has come in search of his beloved Konstanze, who has been carried off by pirates and sold as a slave to the Pasha, together with her English maid Blonde and Belmonte's savant, Pedrillo. Belmonte is in the square in front of the Palace, and sings of his joy at the prospect of perhaps seeing Konstanze again. But how can he gain access to the palace? Osmin, overseer of the Pasha's palace, an-ives to pick figs. He sings to himself a ditty about the dangers of leaving one's lady-love unattended. Between its verses Belmonte fries to catch his attention. He is eventually told that Pedrillo is there, but there is instant dislike on Belmonte's part and misfrust on Osmin's as he pushes Belmonte off the premises. Pedrillo, who is now in charge of the Pasha's gardens, is routinely insulted by Osmin, and asks what he has done to desave such treatment. Osmin tells him he is sure he is a spy and has designs on the womenfolk; he vows in the name of the Prophet that he will kill him. With a final insult and repeating his bloodthirsty threats, Osmin leaves. Belmonte reappears and is overjoyed to see Pedrillo. The latter recounts his adventures and confirms that Konstanze and Blonde are in fact in the palace. Belmonte has a ship moored in the harbour but Pedrillo says it won't be easy to get the ladies out. When the Pasha retums he will introduce Belmonte and get him taken on as an architect. Pedrillo goes to meet the Pasha. Belmonte sings of his mounting excitement now that he is to be reunited with Konstanze. Pasha Selim and his suite, including Konstanze, arive. Selim, left alone with Konstanze, bewails her continuing sadness and rejection of him, and says he wants her to love him of her own free will. Konstanze laments the loss of her happiness in love, before leaving. Selim says he has given Konstanze enough time: tomorrow she must decide. Pedrillo comes back with Belmonte and duly effects the introduction. Selim agrees to give Belmonte a trial. He leaves, and the enraged Osmin fries to prevent the two Spaniards from entering the palace, eventually without success. ACT TWO In the palace garden, Blonde who is Osmin's slave tells him a woman may only be won over by kindness, not threats. Osmin is nonplussed and orders her indoors. Blonde reminds him that not only is she a freebom Englishwoman, but her misfress is the Pasha's favourite, and at a word from Blonde Osmin will suffer torture. Osmin warns her to keep away from Pedrillo. He marvels at the tolerance of English husbands, whilst Blonde reiterates her free status. When he has left, Blonde sees the despairing Konstanze approaching. Konstanze gives free rein to her grief. She envies Blonde her equanimity in their sad plight. Blonde leaves but the Pasha arrives before Konstanze can follow her. Selim threatens her with torture if she does not give way to him tomorrow. Konstanze grandly reaffirms her undying steadfastness, even under such threats. She leaves. Selim is at a loss to understand such fortitude. He goes into the palace, Blonde comes in and hears from Pedrillo the neujs about Belmonte's arrival and the escape-plan. What about Osmin? asks Blonde: Pedrillo says he will get him into a drunken stupor with drugged wine. Blonde jumps for joy at the prospect of escape. Pedrillo also looks forward to getting away, and puts on a brave face as he thinks of the dangers involved. @ Osmin comes in and remarks on Pedrillo's obvious good humour. Pedrillo tells him he could join him in a drink if it weren't against his religion. He eventually inveigles Osmin into frying the larger of his two flasks of vine, and they sing a drinking song. The wine takes effect and Pedrillo packs Osmin off to bed. As Belmonte anives, Konstanze and Blonde come from their quarters. There is a rapturous reunion of the Wuo pairs of lovers. Belmonte is worried, though... and so is Pedrillo. They hesitantly challenge their ladies: in view of their status vis vis Selim and Osmin, can they reassure their lovers of their constancy? Konstanze is sorrowful at the enquiry: Blonde smacks Pedrillo's face! The two women gang up against the men, but after keeping them in suspense for a while they accept their expressions of repentance (Ich bereue) and make it up. ACT THREE Midnight in the courtyard. Belmonte reflects upon his happiness at being near his beloved. Pedrillo an-ives and sends Belmonte off to make sure they have not been detected, before he brings the ladder for the escape. He sings a serenade under Konstanze's balcony, and she opens the window. As the women prepare to descend, Osmin arrives on the scene and sounds the alarm. Pedrillo ties to talk his way out of frouble, and Belmonte tries to bribe Osmin, both without success. Osmin is overjoyed, and gloats at the prospect of seeing them hanged for their treachery. Pasha Selim comes out and Konstanze begs for Belmonte's life, offering her own in his place. Belmote throws himself on Selim's mercy, saying he is from a noble Spanish family, Lostados, and Selim realises that he is the son of his arch-enemy. He says he will deal with Belmonte as severely as his father once dealt with him, the Pasha. He leaves unth Osmin. Belmonte and Konstanze bemoan the tum of events, but say they will die happy because they are together. The Pasha returns to pass sentence. He avows that he despised Belmonte's father far too much to emulate him, and he will therefore set the four at liberty, despite Osmin's protestations at losing Blonde. Belmonte, Konstanze, Pedrillo and Blonde each in turn thank Selim for his enlightened graciousness. Osmin explodes in anger and frusfration and leaves the scene, the lovers extol a generous spirit, and a general chorus of praise for the Pasha goes up. Wolfgang Amadeus Mozart Playlist (reference recordings): ruclips.net/video/lnV-3hHKv44/видео.html
Here Krips totally convinces me. That Trio at the end of the 1st Aufzug--brilliant! I've never heard it better. Also this is the best Belmonte-Pedrillo pairing I've heard: their voices blend & complement each other so well... Popp Frick and Rothenberger dazzle as expected. Thanks for posting this wonderful recording.
Absolut tolle Aufnahme! Präzise, klare, schöne Stimmen, ein perfektes Ensemble voller Bedeutung und Gefühl. Ich liebe jede Note dieser wunderbaren Oper von W.A.Mozart!
Lebhafte und wunderschöne Interpetation dieser etwas exotischen doch perfekt komponierten Oper mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie herrlichen Stimmen aller unvergleichlichen Solisten und gut harmonisierten Stimmen des ausgezeichneten Chors. Der ebenso unvergleichliche Dirigent leitet das weltklassige Orchester im rhythmischen Tempo und mit künstlerisch kontrollierter Dynamik. Alles ist wunderbar!
Most composers have deliberately written bad things, musical jokes, when they set out to be funny. Mozart was perfectly suited for comedy because of his gift for writing beautiful music that's funny. He also put subtle nuances of mood into his comedies.
There is a saying, used mockingly, in my language : ' watching drama without knowing the story'. Our drama is also having dialogues,songs ,etc., like here. Knowing the language, story,etc., are essential for enjoying an opera ? If that is the case how many people can enjoy the shows? I don't think that's a precondition for enjoying a piece of art having a combination of acting, singing, music, etc. I could understand and enjoy the seriousness of the scenes based on the varied style of singing of Sopranos, tenors, baritones, etc.I enjoyed the magnificent rendition all the more so because it's creator is my favourite composer.And I am sure maestro Mozart never disappoints the lovers of his art - whether music or opera! As if I have seen an opera live! Bravo, Gracias.
Once again you hit the nail on the head. This is absolutely the referential recording of this charming opera, with a beautiful cast and great work from Krips. However if one wishes to hear it uncut I would recommend the Harnoncourt, otherwise this is the best.
@Channel Rare Live Opera I prefer this one too, it was more to say that if one wanted to hear the uncut version, try the Harnoncourt. 9 times out of 10 I listen to this one
Osmin in particular without any singing part dominates the Entführung aus dem Serail with his silence and dignity worthy of a prince. Even the little Konstanze realizes this in the end. The chorus that ends it all is incredibly moving as it represents the ultimate respect for this solitary man, this prince, now leaving them all in awe as if they have just seen a vision of purity and selflessness.
SYNOPSIS The opera is set in Turkey, in the grounds of Pasha Selim's palace by the sea. Overture. ACT ONE Belmonte, a young Spanish nobleman, has come in search of his beloved Konstanze, who has been carried off by pirates and sold as a slave to the Pasha, together with her English maid Blonde and Belmonte's savant, Pedrillo. Belmonte is in the square in front of the Palace, and sings of his joy at the prospect of perhaps seeing Konstanze again. But how can he gain access to the palace? Osmin, overseer of the Pasha's palace, an-ives to pick figs. He sings to himself a ditty about the dangers of leaving one's lady-love unattended. Between its verses Belmonte fries to catch his attention. He is eventually told that Pedrillo is there, but there is instant dislike on Belmonte's part and misfrust on Osmin's as he pushes Belmonte off the premises. Pedrillo, who is now in charge of the Pasha's gardens, is routinely insulted by Osmin, and asks what he has done to desave such treatment. Osmin tells him he is sure he is a spy and has designs on the womenfolk; he vows in the name of the Prophet that he will kill him. With a final insult and repeating his bloodthirsty threats, Osmin leaves. Belmonte reappears and is overjoyed to see Pedrillo. The latter recounts his adventures and confirms that Konstanze and Blonde are in fact in the palace. Belmonte has a ship moored in the harbour but Pedrillo says it won't be easy to get the ladies out. When the Pasha retums he will introduce Belmonte and get him taken on as an architect. Pedrillo goes to meet the Pasha. Belmonte sings of his mounting excitement now that he is to be reunited with Konstanze. Pasha Selim and his suite, including Konstanze, arive. Selim, left alone with Konstanze, bewails her continuing sadness and rejection of him, and says he wants her to love him of her own free will. Konstanze laments the loss of her happiness in love, before leaving. Selim says he has given Konstanze enough time: tomorrow she must decide. Pedrillo comes back with Belmonte and duly effects the introduction. Selim agrees to give Belmonte a trial. He leaves, and the enraged Osmin fries to prevent the two Spaniards from entering the palace, eventually without success. ACT TWO In the palace garden, Blonde who is Osmin's slave tells him a woman may only be won over by kindness, not threats. Osmin is nonplussed and orders her indoors. Blonde reminds him that not only is she a freebom Englishwoman, but her misfress is the Pasha's favourite, and at a word from Blonde Osmin will suffer torture. Osmin warns her to keep away from Pedrillo. He marvels at the tolerance of English husbands, whilst Blonde reiterates her free status. When he has left, Blonde sees the despairing Konstanze approaching. Konstanze gives free rein to her grief. She envies Blonde her equanimity in their sad plight. Blonde leaves but the Pasha arrives before Konstanze can follow her. Selim threatens her with torture if she does not give way to him tomorrow. Konstanze grandly reaffirms her undying steadfastness, even under such threats. She leaves. Selim is at a loss to understand such fortitude. He goes into the palace, Blonde comes in and hears from Pedrillo the neujs about Belmonte's arrival and the escape-plan. What about Osmin? asks Blonde: Pedrillo says he will get him into a drunken stupor with drugged wine. Blonde jumps for joy at the prospect of escape. Pedrillo also looks forward to getting away, and puts on a brave face as he thinks of the dangers involved. @ Osmin comes in and remarks on Pedrillo's obvious good humour. Pedrillo tells him he could join him in a drink if it weren't against his religion. He eventually inveigles Osmin into frying the larger of his two flasks of vine, and they sing a drinking song. The wine takes effect and Pedrillo packs Osmin off to bed. As Belmonte anives, Konstanze and Blonde come from their quarters. There is a rapturous reunion of the Wuo pairs of lovers. Belmonte is worried, though... and so is Pedrillo. They hesitantly challenge their ladies: in view of their status vis vis Selim and Osmin, can they reassure their lovers of their constancy? Konstanze is sorrowful at the enquiry: Blonde smacks Pedrillo's face! The two women gang up against the men, but after keeping them in suspense for a while they accept their expressions of repentance (Ich bereue) and make it up. ACT THREE Midnight in the courtyard. Belmonte reflects upon his happiness at being near his beloved. Pedrillo an-ives and sends Belmonte off to make sure they have not been detected, before he brings the ladder for the escape. He sings a serenade under Konstanze's balcony, and she opens the window. As the women prepare to descend, Osmin arrives on the scene and sounds the alarm. Pedrillo ties to talk his way out of frouble, and Belmonte tries to bribe Osmin, both without success. Osmin is overjoyed, and gloats at the prospect of seeing them hanged for their treachery. Pasha Selim comes out and Konstanze begs for Belmonte's life, offering her own in his place. Belmote throws himself on Selim's mercy, saying he is from a noble Spanish family, Lostados, and Selim realises that he is the son of his arch-enemy. He says he will deal with Belmonte as severely as his father once dealt with him, the Pasha. He leaves unth Osmin. Belmonte and Konstanze bemoan the tum of events, but say they will die happy because they are together. The Pasha returns to pass sentence. He avows that he despised Belmonte's father far too much to emulate him, and he will therefore set the four at liberty, despite Osmin's protestations at losing Blonde. Belmonte, Konstanze, Pedrillo and Blonde each in turn thank Selim for his enlightened graciousness. Osmin explodes in anger and frusfration and leaves the scene, the lovers extol a generous spirit, and a general chorus of praise for the Pasha goes up. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Excellent interpretation. Mozart Turkish sounds - Variations Gluch, Cannabich, Jiří Družecký. The Cannabich, in particular, uses Eastern modal harmonies, and his exploitation of the possibilities of winds and a variety of "exotic" percussion instruments is evidence of the influence of the Turkish culture, e.g , ballet "Les fetes du Seraïlles". Mozart's daily painstaking work on the works of his predecessors and contemporaries, for example, Mozart Variations K 455 - 10 Variations in G Major on a Theme by Christoph Willibald Gluck "La rencontre imprévue", ou "Les pèlerins de la Mecque", "Unser Dummer Pobel" opéra comique 1763. at the end we hear sounds like an amalgam of a Bach prelude and a Domenico Scarlatti sonata. Gluch "Unser Dummer Pobel" his most popular work in the genre in the 18th century. It was performed in French in Brussels, Bordeaux, Amsterdam, Hague, Mannheim (1768), Frankfurt (1771),Copenhagen (1772), Liège (1776), Cassel (1780), Lille, and Marseille, Munich, Berlin. Vienna (1776 at the Kärntnertor Theater; 26 July 1780 at the Burgtheater). and the 1780 Vienna revival of Gluck's version presumably inspired of Mozart's Die Entführung aus dem Serail.
There area lot of recordings. Many of them outstanding. Whitout any doubt Krops varsion is includef whith the outstanding. I recpmend to lidten the Fricsay tecords on DG. The Solti on Decca and the Harnoncpurt on Teldec.Of course there are more.
“Too many notes, my dear Mozart,” Emperor Joseph II once said to the composer about The Abduction from the Seraglio. “Exactly as much as needed, Your Majesty,” Mozart replied.
@@alexanderalenitsyn9053 Joseph II actually said "this is too much good for our ears, an incredible amount of notes, my dear Mozart". He was complimenting it, not complaining
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Wolfgang Amadeus Mozart (1756-1791) Die Entführung aus dem Serail Opera.
🎧 *Find this recording in our Spotify playlist* : spoti.fi/2XNn4Kk
*Click to activate the English subtitles for the presentation* (00:00-02:14)
00:00 Ouvertüre
ERSTER AUFZUG
04:33 Hier soll ich..Aber wie soll ich in den Palast kommen? (Belmonte)
07:09 Wer ein Liebchen hat gefunden...Vawünscht seist du... (Osmin/Belmonte)
14:02 Das scheint auch so ein Schurke (Osmin/Pedrillo)
14:39 Solche hergelaufne Laffen (Osmin)
18:57 Was bist du für ein grausamer Kerl! (Pedrillo/Osmin)
19:35 Geh nur, verwünschter Aufpasser (Pedrillo/Belmonte)
20:58 Konstanze, dich wieder zu sehen, dich! (Belmonte)
25:55 Herr, geschwind zur Seite!...Singt dem großen Bassa Lieder (Pedillo/Chor)
27:43 Immer noch traurig, geliebte Konstanze? (Selim/Konstanze)
28:29 Ach ich liebte, war so glücklich (Konstanze)
33:44 Ihr Schmerz, ihre Tränen (Selim/Pedrillo/Belmonte/Osmin)
ZWEITER AUFZUG
36:55 Gift und Dolch... Durch Zärtlichkeit und Schmeicheln
40:33 Zärtlichkeit? Schmeicheln?
41:36 Ich gehe, doch rate ich dir...Ach, wie fraurig... (Osmin/Blonde)
45:18 Welcher Kummer herscht...Traurigkeit (Konstanze)
54:13 Mein bestes Fräulein... (Blonde/Konstanze/Selim)
55:12 Martern aller Arten (Konstanze)
1:03:59 Woher hat sie auf einmal den Mut? (Selim/Blonde/Pedrillo)
1:05:05 Welche Wonne, welche Lust (Blonde)
1:07:35 Ach, wenn es doch schon...Frisch zum Kampfe! (Pedrillo)
1:10:38 Na, hier geht's ja lustig zu!
1:11:49 Vivat, Bacchus! (Osmin/Pedrillo)
1:13:57 Das ist wahr - Wein... (Osmin/Pedrillo/Belmonte)
1:14:47 Ach, Belmonte, ach mein Leben! (Konstanze/Belmonte/Pedrillo/Blonde)
DRITTER AUFZUG
1:25:24 Wenn der Freude Tränen fließen (Belmonte)
1:29:48 Pedrillo! Ist alles ferüg? (Belmonte/Pedrillo)
1:30:09 Im Mohrenland gefangen war ein Mädchen (Pedrillo/Belmonte/Osmin/Blonde)
1:33:48 Oh, wie will ich Mumphieren (Osmin)
1:37:14 Was gibt's Osmin? (Selim/Osmin/Konstanze/Belmonte)
1:39:13 Welch ein Geschick! (Belmonte/Konstanze)
1:46:47 Nun, zitterst du, erwartest du dein Urteil? (Selim/Belmonte/Pedrillo/Osmin)
Konstanze: ANNELIESE ROTHENBERGER (soprano)
Blonde: LUCIA POPP (soprano)
Belmonte: NICOLAI GEDDA (tenor)
Pedrillo GERHARD UNGER (tenor)
Osmin GOTTLOB FRICK (bass)
Selim LEOPOLD RUDOLF (spoken role)
Chor der Wiener Staatsoper
Wiener Philharmoniker
Conductor: JOSEF KRIPS
Recorded in 1966, at Vienna
🔊Find CMRR's recordings on SPOTIFY : spoti.fi/3016eVr
🔊Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
SYNOPSIS
The opera is set in Turkey, in the grounds of Pasha Selim's palace by the sea.
Overture.
ACT ONE
Belmonte, a young Spanish nobleman, has come in search of his beloved Konstanze, who has been carried off by pirates and sold as a slave to the Pasha, together with her English maid Blonde and Belmonte's savant, Pedrillo. Belmonte is in the square in front of the Palace, and sings of his joy at the prospect of perhaps seeing Konstanze again. But how can he gain access to the palace? Osmin, overseer of the Pasha's palace, an-ives to pick figs. He sings to himself a ditty about the dangers of leaving one's lady-love unattended. Between its verses Belmonte fries to catch his attention. He is eventually told that Pedrillo is there, but there is instant dislike on Belmonte's part and misfrust on Osmin's as he pushes Belmonte off the premises. Pedrillo, who is now in charge of the Pasha's gardens, is routinely insulted by Osmin, and asks what he has done to desave such treatment. Osmin tells him he is sure he is a spy and has designs on the womenfolk; he vows in the name of the Prophet that he will kill him.
With a final insult and repeating his bloodthirsty threats, Osmin leaves. Belmonte reappears and is overjoyed to see Pedrillo. The latter recounts his adventures and confirms that Konstanze and Blonde are in fact in the palace. Belmonte has a ship moored in the harbour but Pedrillo says it won't be easy to get the ladies out. When the Pasha retums he will introduce Belmonte and get him taken on as an architect. Pedrillo goes to meet the Pasha. Belmonte sings of his mounting excitement now that he is to be reunited with Konstanze. Pasha Selim and his suite, including Konstanze, arive. Selim, left alone with Konstanze, bewails her continuing sadness and rejection of him, and says he wants her to love him of her own free will. Konstanze laments the loss of her happiness in love, before leaving. Selim says he has given Konstanze enough time: tomorrow she must decide. Pedrillo comes back with Belmonte and duly effects the introduction. Selim agrees to give Belmonte a trial. He leaves, and the enraged Osmin fries to prevent the two Spaniards from entering the palace, eventually without success.
ACT TWO
In the palace garden, Blonde who is Osmin's slave tells him a woman may only be won over by kindness, not threats. Osmin is nonplussed and orders her indoors. Blonde reminds him that not only is she a freebom Englishwoman, but her misfress is the Pasha's favourite, and at a word from Blonde Osmin will suffer torture. Osmin warns her to keep away from Pedrillo. He marvels at the tolerance of English husbands, whilst Blonde reiterates her free status. When he has left, Blonde sees the despairing Konstanze approaching. Konstanze gives free rein to her grief. She envies Blonde her equanimity in their sad plight. Blonde leaves but the Pasha arrives before Konstanze can follow her. Selim threatens her with torture if she does not give way to him tomorrow. Konstanze grandly reaffirms her undying steadfastness, even under such threats. She leaves. Selim is at a loss to understand such fortitude. He goes into the palace, Blonde comes in and hears from Pedrillo the neujs about Belmonte's arrival and the escape-plan. What about Osmin? asks Blonde: Pedrillo says he will get him into a drunken stupor with drugged wine. Blonde jumps for joy at the prospect of escape. Pedrillo also looks forward to getting away, and puts on a brave face as he thinks of the dangers involved. @ Osmin comes in and remarks on Pedrillo's obvious good humour. Pedrillo tells him he could join him in a drink if it weren't against his religion. He eventually inveigles Osmin into frying the larger of his two flasks of vine, and they sing a drinking song. The wine takes effect and Pedrillo packs Osmin off to bed. As Belmonte anives, Konstanze and Blonde come from their quarters. There is a rapturous reunion of the Wuo pairs of lovers. Belmonte is worried, though... and so is Pedrillo. They hesitantly challenge their ladies: in view of their status vis vis Selim and Osmin, can they reassure their lovers of their constancy? Konstanze is sorrowful at the enquiry: Blonde smacks Pedrillo's face! The two women gang up against the men, but after keeping them in suspense for a while they accept their expressions of repentance (Ich bereue) and make it up.
ACT THREE
Midnight in the courtyard. Belmonte reflects upon his happiness at being near his beloved. Pedrillo an-ives and sends Belmonte off to make sure they have not been detected, before he brings the ladder for the escape. He sings a serenade under Konstanze's balcony, and she opens the window. As the women prepare to descend, Osmin arrives on the scene and sounds the alarm. Pedrillo ties to talk his way out of frouble, and Belmonte tries to bribe Osmin, both without success. Osmin is overjoyed, and gloats at the prospect of seeing them hanged for their treachery. Pasha Selim comes out and Konstanze begs for Belmonte's life, offering her own in his place. Belmote throws himself on Selim's mercy, saying he is from a noble Spanish family, Lostados, and Selim realises that he is the son of his arch-enemy. He says he will deal with Belmonte as severely as his father once dealt with him, the Pasha. He leaves unth Osmin. Belmonte and Konstanze bemoan the tum of events, but say they will die happy because they are together. The Pasha returns to pass sentence. He avows that he despised Belmonte's father far too much to emulate him, and he will therefore set the four at liberty, despite Osmin's protestations at losing Blonde. Belmonte, Konstanze, Pedrillo and Blonde each in turn thank Selim for his enlightened graciousness. Osmin explodes in anger and frusfration and leaves the scene, the lovers extol a generous spirit, and a general chorus of praise for the Pasha goes up.
Wolfgang Amadeus Mozart Playlist (reference recordings): ruclips.net/video/lnV-3hHKv44/видео.html
N. Gedda is magnificent, and I've never heard Frick sing so beautifully & sensitively!
My word, this is probably the first time I have truly appreciated the orchestral part of this opera!
Bravissimi to all!
Saw this in Vienna last April. Mozart is divine. Krips is a genius. Love this recording.
Lucky you!
Here Krips totally convinces me. That Trio at the end of the 1st Aufzug--brilliant! I've never heard it better. Also this is the best Belmonte-Pedrillo pairing I've heard: their voices blend & complement each other so well... Popp Frick and Rothenberger dazzle as expected. Thanks for posting this wonderful recording.
Absolut tolle Aufnahme! Präzise, klare, schöne Stimmen, ein perfektes Ensemble voller Bedeutung und Gefühl. Ich liebe jede Note dieser wunderbaren Oper von W.A.Mozart!
Lebhafte und wunderschöne Interpetation dieser etwas exotischen doch perfekt komponierten Oper mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie herrlichen Stimmen aller unvergleichlichen Solisten und gut harmonisierten Stimmen des ausgezeichneten Chors. Der ebenso unvergleichliche Dirigent leitet das weltklassige Orchester im rhythmischen Tempo und mit künstlerisch kontrollierter Dynamik. Alles ist wunderbar!
Most composers have deliberately written bad things, musical jokes, when they set out to be funny. Mozart was perfectly suited for comedy because of his gift for writing beautiful music that's funny. He also put subtle nuances of mood into his comedies.
Mozart's music and his works' fabulous performers are beyond description and full of the unfathomable emotion
Oh, beautiful! I'm starting to think Krips is my favorite conductor.
Guten Morgen von Bangkok, Thailand. It's 06:50 of Monday morning 25th October 2021.
Thank U for the BEAUTIFUL music.
Have a good day !
Superb conducting
Compositor, director, voces (irrepetibles), orquesta, año de grabación y toma de sonido = Obra Maestra.
:)
This is my favourite recording. It's my entire family's choice of this opera.
Wow, this is another masterpiece. Music beyond description, it lifts you up to heaven.
Un'edizione fantastica del capolavoro mozartiano...
There is a saying, used mockingly, in my language : ' watching drama without knowing the story'. Our drama is also having dialogues,songs ,etc., like here. Knowing the language, story,etc., are essential for enjoying an opera ? If that is the case how many people can enjoy the shows? I don't think that's a precondition for enjoying a piece of art having a combination of acting, singing, music, etc. I could understand and enjoy the seriousness of the scenes based on the varied style of singing of Sopranos, tenors, baritones, etc.I enjoyed the magnificent rendition all the more so because it's creator is my favourite composer.And I am sure maestro Mozart never disappoints the lovers of his art - whether music or opera! As if I have seen an opera live! Bravo, Gracias.
It's as usual with you... Same old stuff - Gem after gem, after gem, after gem... So, thank you again and again dear CM/RR.
Thanks for following us :)
A dream come true 🌾💐🌷🌺🎻🎹🎼
Merci de nous inviter à vous rejoindre pour cette magnifique journée musicale 🎶 🥂🍾
:)
Once again you hit the nail on the head. This is absolutely the referential recording of this charming opera, with a beautiful cast and great work from Krips.
However if one wishes to hear it uncut I would recommend the Harnoncourt, otherwise this is the best.
@Channel Rare Live Opera I prefer this one too, it was more to say that if one wanted to hear the uncut version, try the Harnoncourt. 9 times out of 10 I listen to this one
@Channel Rare Live Opera Harnoncourt, gran director, pero no en la ópera mozartiana. Le falta sentido del humor.
So proud of My Ottoman Ancestors❤..Alhamdulillah.. Unique Mozart❤
リズムが快活で素敵な音楽ありがとうございます💕
コメントをお寄せいただきありがとうございます。
M O Z A R T I S S I M O ! ! !
El maestro G Frick, fue un cantante extraordinariamente dotado.
Mozart !Mozart !Toujours Mozart.
Eterno Mozart!!!
Su música sigue más vigente qué nunca. Realmente un deleite escuchar todas sus obras musicales.
Osmin in particular without any singing part dominates the Entführung aus dem Serail with his silence and dignity worthy of a prince. Even the little Konstanze realizes this in the end. The chorus that ends it all is incredibly moving as it represents the ultimate respect for this solitary man, this prince, now leaving them all in awe as if they have just seen a vision of purity and selflessness.
….small hint, Bassa Selim is the non-singing role here. Osmin sings a lot. Best Regards
@mk5244 it is true; it was Selim, not Osmin i was referring to; thanks for the correction.
@@onderrrr 👍
SYNOPSIS
The opera is set in Turkey, in the grounds of Pasha Selim's palace by the sea.
Overture.
ACT ONE
Belmonte, a young Spanish nobleman, has come in search of his beloved Konstanze, who has been carried off by pirates and sold as a slave to the Pasha, together with her English maid Blonde and Belmonte's savant, Pedrillo. Belmonte is in the square in front of the Palace, and sings of his joy at the prospect of perhaps seeing Konstanze again. But how can he gain access to the palace? Osmin, overseer of the Pasha's palace, an-ives to pick figs. He sings to himself a ditty about the dangers of leaving one's lady-love unattended. Between its verses Belmonte fries to catch his attention. He is eventually told that Pedrillo is there, but there is instant dislike on Belmonte's part and misfrust on Osmin's as he pushes Belmonte off the premises. Pedrillo, who is now in charge of the Pasha's gardens, is routinely insulted by Osmin, and asks what he has done to desave such treatment. Osmin tells him he is sure he is a spy and has designs on the womenfolk; he vows in the name of the Prophet that he will kill him.
With a final insult and repeating his bloodthirsty threats, Osmin leaves. Belmonte reappears and is overjoyed to see Pedrillo. The latter recounts his adventures and confirms that Konstanze and Blonde are in fact in the palace. Belmonte has a ship moored in the harbour but Pedrillo says it won't be easy to get the ladies out. When the Pasha retums he will introduce Belmonte and get him taken on as an architect. Pedrillo goes to meet the Pasha. Belmonte sings of his mounting excitement now that he is to be reunited with Konstanze. Pasha Selim and his suite, including Konstanze, arive. Selim, left alone with Konstanze, bewails her continuing sadness and rejection of him, and says he wants her to love him of her own free will. Konstanze laments the loss of her happiness in love, before leaving. Selim says he has given Konstanze enough time: tomorrow she must decide. Pedrillo comes back with Belmonte and duly effects the introduction. Selim agrees to give Belmonte a trial. He leaves, and the enraged Osmin fries to prevent the two Spaniards from entering the palace, eventually without success.
ACT TWO
In the palace garden, Blonde who is Osmin's slave tells him a woman may only be won over by kindness, not threats. Osmin is nonplussed and orders her indoors. Blonde reminds him that not only is she a freebom Englishwoman, but her misfress is the Pasha's favourite, and at a word from Blonde Osmin will suffer torture. Osmin warns her to keep away from Pedrillo. He marvels at the tolerance of English husbands, whilst Blonde reiterates her free status. When he has left, Blonde sees the despairing Konstanze approaching. Konstanze gives free rein to her grief. She envies Blonde her equanimity in their sad plight. Blonde leaves but the Pasha arrives before Konstanze can follow her. Selim threatens her with torture if she does not give way to him tomorrow. Konstanze grandly reaffirms her undying steadfastness, even under such threats. She leaves. Selim is at a loss to understand such fortitude. He goes into the palace, Blonde comes in and hears from Pedrillo the neujs about Belmonte's arrival and the escape-plan. What about Osmin? asks Blonde: Pedrillo says he will get him into a drunken stupor with drugged wine. Blonde jumps for joy at the prospect of escape. Pedrillo also looks forward to getting away, and puts on a brave face as he thinks of the dangers involved. @ Osmin comes in and remarks on Pedrillo's obvious good humour. Pedrillo tells him he could join him in a drink if it weren't against his religion. He eventually inveigles Osmin into frying the larger of his two flasks of vine, and they sing a drinking song. The wine takes effect and Pedrillo packs Osmin off to bed. As Belmonte anives, Konstanze and Blonde come from their quarters. There is a rapturous reunion of the Wuo pairs of lovers. Belmonte is worried, though... and so is Pedrillo. They hesitantly challenge their ladies: in view of their status vis vis Selim and Osmin, can they reassure their lovers of their constancy? Konstanze is sorrowful at the enquiry: Blonde smacks Pedrillo's face! The two women gang up against the men, but after keeping them in suspense for a while they accept their expressions of repentance (Ich bereue) and make it up.
ACT THREE
Midnight in the courtyard. Belmonte reflects upon his happiness at being near his beloved. Pedrillo an-ives and sends Belmonte off to make sure they have not been detected, before he brings the ladder for the escape. He sings a serenade under Konstanze's balcony, and she opens the window. As the women prepare to descend, Osmin arrives on the scene and sounds the alarm. Pedrillo ties to talk his way out of frouble, and Belmonte tries to bribe Osmin, both without success. Osmin is overjoyed, and gloats at the prospect of seeing them hanged for their treachery. Pasha Selim comes out and Konstanze begs for Belmonte's life, offering her own in his place. Belmote throws himself on Selim's mercy, saying he is from a noble Spanish family, Lostados, and Selim realises that he is the son of his arch-enemy. He says he will deal with Belmonte as severely as his father once dealt with him, the Pasha. He leaves unth Osmin. Belmonte and Konstanze bemoan the tum of events, but say they will die happy because they are together. The Pasha returns to pass sentence. He avows that he despised Belmonte's father far too much to emulate him, and he will therefore set the four at liberty, despite Osmin's protestations at losing Blonde. Belmonte, Konstanze, Pedrillo and Blonde each in turn thank Selim for his enlightened graciousness. Osmin explodes in anger and frusfration and leaves the scene, the lovers extol a generous spirit, and a general chorus of praise for the Pasha goes up.
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Cast stellare. Edizione perfetta
Hi sweet friend, thanks I love to Mozart🎶🎼🎵🤗👍💐🎻🎹thanks 😘
always a pleasure to read you
Excellent interpretation. Mozart Turkish sounds - Variations Gluch, Cannabich, Jiří Družecký. The Cannabich, in particular, uses Eastern modal harmonies, and his exploitation of the possibilities of winds and a variety of "exotic" percussion instruments is evidence of the influence of the Turkish culture, e.g , ballet "Les fetes du Seraïlles". Mozart's daily painstaking work on the works of his predecessors and contemporaries, for example, Mozart Variations K 455 - 10 Variations in G Major on a Theme by Christoph Willibald Gluck "La rencontre imprévue", ou "Les pèlerins de la Mecque", "Unser Dummer Pobel" opéra comique 1763. at the end we hear sounds like an amalgam of a Bach prelude and a Domenico Scarlatti sonata. Gluch "Unser Dummer Pobel" his most popular work in the genre in the 18th century. It was performed in French in Brussels, Bordeaux, Amsterdam, Hague, Mannheim (1768), Frankfurt (1771),Copenhagen (1772), Liège (1776), Cassel (1780), Lille, and Marseille, Munich, Berlin. Vienna (1776 at the Kärntnertor Theater; 26 July 1780 at the Burgtheater). and the 1780 Vienna revival of Gluck's version presumably inspired of Mozart's Die Entführung aus dem Serail.
Marvelous and fantastic, thank you for this
You're welcome :)
I love Solti's recording with Gruberova, Moll, Kathleen Battle and others.
Kathleen Battle.
Wieczny Mozart !
1:00:50. 1:05:10. 1:11:50. 1:14:48. 1:52:44
1:11:50. 1:14:48
My God it is amazing, thank random youtube video suggestion
POR SIEMPRE LUCIA POPPOVA.
🙌🏻
I'm such a huge Gottlob Frick fan. Marvelous recording. Does anyone know what year this recording was?
1966
Frick was much better in Beecham's recording (1956)
Try Gardiner's version
12//22.09.21. The Day autumn ' s equinox.
The Best musica
Zaide is the same story.
How about "the barber from Bagdad "
chào buổi sáng tốt lành cảm ơn
🤗💗😍👍
Osmin GOTTLOB FRICK... GOTTLOB, not GOITLOB...
Thank you for your attention.
@@classicalmusicreference My pleasure! You're welcome! Excellent recording!
Too many notes :)
There area lot of recordings. Many of them outstanding. Whitout any doubt Krops varsion is includef whith the outstanding. I recpmend to lidten the Fricsay tecords on DG. The Solti on Decca and the Harnoncpurt on Teldec.Of course there are more.
“Too many notes, my dear Mozart,” Emperor Joseph II once said to the composer about The Abduction from the Seraglio. “Exactly as much as needed, Your Majesty,” Mozart replied.
@@alexanderalenitsyn9053 Joseph II actually said "this is too much good for our ears, an incredible amount of notes, my dear Mozart". He was complimenting it, not complaining
Hogtiedhhh