Combine a pleasing production, in a stunning venue (The Academy of Music), located on one of the most picturesque streets in Philadelphia – the Avenue of the Arts – with the marvelous music of Mozart, and you have the makings of a lovely winter afternoon.
As I stepped into the street, I remember wishing more February days could have been like this one. Opera Company of Philadelphia’s international cast was solid if not spectacular, the production values strong, and the audience was friendly and generous.
Their newest offering, The Abduction from the Seraglio, was cleverly told. From the opening notes of the overture, the creative team led by director Robert B. Diver sought to captivate the audience by rolling old-fashioned Hollywood-style cinema credits and then showing World War I movie clips, drawing us into the drama about to unfold.
It’s hardly a complicated tale: a young Spanish pilot attempts to rescue his love from an Ottoman harem, which involves the requisite swashbuckling and hoodwinking in a Turkish seraglio. So, the novelty of integrating movie clips and old-time images into the set was most welcome. Though Abduction is not Mozart’s first opera, it is the earliest of his operas still performed today. As such, Mozart had not yet hit his stride, which is apparent in the pace and the flow of this work as compared to later operas. This must have been the impetus for incorporating all the film clips – to pep up a piece that might otherwise have been glacially slow and flat in spots.
More than any other quality, this production was fun and frolicsome, especially because the supporting players were adept at acting and singing comedically. As Pedrillo, Polish tenor Krystian Adam’s comic timing was sheer perfection. His singing – clear and powerful – also ensnared listeners. As his pert love interest Blonde, American soprano Elizabeth Reiter was his comic and vocal equal. But it was the boorish overseer Osmin, portrayed by Danish bass Per Bach Nissen, who stole the audience favorite prize that afternoon. Comical singing is expected, and though it can be very demanding vocally, he delivered. Hilarious antics, even appearing half naked in a Turkish towel, were required in this production. He willingly made a buffoon of himself, and the audience rewarded his devotion to the role with a huge ovation at curtain call.