Starting with the Fat Lady | San Francisco embraces Mozart's Abduction

On the first day of the Jewish new year I found myself in a different synagogue, another vast meeting hall with ornate decorations and meaning hallowed by the voice of one man meant to represent the masses that fill the building at designated times, on holidays and celebration, days of atonement—fast, jubilation, all—a place of public transcendence.

For a time we come here and quiet our own voices, lost to the drama before us, filled with a story, drawn into a man’s retelling of the experience known to us all as LIFE. This large otherwise empty room to be filled with big emotion, built for it—proportion re-envisioned, room to dream—

But here we see, we see so clearly in this dream that not even our bodies betray us, we are whole and yet connected, detached, flowing, fluid—but concrete, stable, real despite our ephemeral nature, and meaningful.

Could it be, that the only difference between the poor and rich is adequate space to grow? And—that this room need not be physical, but only in our heads? I personally have heard the spirits soar. My childhood resounded with the boom of ancient language and the promise of eternal blossoming despite the inevitable disappearance of all races, each in turn—and though the Jews were able to say and to show—with their own particular dreams and reflection of the sacred—that there is a light that never goes out, this light is not a Jewish light nor a Greek light nor the light of Mozart. It is not called Opera. Men will gather to hear their own little whisperings, so confusing and despicable alone, gathered into an undeniable force, represented, unified, and somehow more authoritative and … lovely when turned up so loud.

I found myself at the War Memorial Opera House for Mozart’s Abduction. It was my first time at any opera anywhere. It was the final dress rehearsal, and boy! – I was just thrilled.

After having just been to the American Conservatory Theater for Noel Coward’s Brief Encounter, which I have also written about here and here, I had reasonable and accurate expectations: opulence, plush majesty. O I really was not disappointed at all. The performance was engaging, gorgeously accompanied by the symphony orchestra, and actually, consistently funny. First row lower balcony! Dream come true (box checked). But there’s more: I’m going to see Salome by Richard Strauss (based on the play by Oscar WildeOscar Wilde) on October 15!

Synopsis of Abduction from the Seraglio [Taken from the program]

Belmonte, a Spanish nobleman, has been separated by pirates from Constanze, the woman he loves. He has reason to believe that Constanze was sold as a slave to the Pashsa Selim, and he has tracked her to the Pasha’s house.

ACT 1

Near Pasha Selim’s palace, Belmonte encounters the dour gatekeeper, Osmin, who rudely dismisses his overtures and sends him away. Belmonte then finds his own manservant, Pedrillo, who confirms that Constanze, her chambermaid Blonde, and he are now indeed property of the Pasha. Pedrillo has become gardener to the Pasha and enjoys unusual freedom on the grounds, as well as the Osmin, to whom the Pasha has given Pedrillo’s sweetheart Blonde as a gift. When Belmonte hears that the Pasha loves Constanze and has been pursuing her, he wonders if she has remained faithful to him. Belmonte and Pedrillo make a plan to abduct Constanze and Blonde that night and escape.

When the pasha and Constanze return from a boating excursion, the Pasha offers his love to her, threatening force if she does not accept him. Later, Pedrillo introduces Belmonte to the Pasha as a talented architect, and the Pasha sets an appointment for the next day—but Osmin still will not allow Belmonte into the palace as he suspects Belmonte of coming to steal women from the harem. Belmonte and Pedrillo trick Osmin, and they manage to gain access.

ACT 2

Osmin orders Blonde to love him, as he has every reason to expect that a woman belonging to him should. Blonde is appalled. She will not accept that women are wares to be traded, and she explains that western women prefer to be courted with tenderness, kindness, and humor. Osmin has trouble accepting this, though Blonde enchants him. Later, Blonde tries to comfort Constanze and, understanding that her mistress’s distress hinges on an attraction to the Pasha, encourages her to make a choice. Constanze, with no time left to stall the Pasha, mourns her separation from Belmonte, and when the Pasha appears she struggles with her conflicting feelings. When he speaks of the tortures she, and even he, will suffer if she rejects him, she appeals to the Pasha’s reason but ultimately stands up to him.

Pedrillo tells Blonde that Belmonte has found them. He explains that they will all escape at midnight after he has drugged Osmin, and that meanwhile Constanze can speak to Belmonte in the palace after dark. He then musters his courage and succeeds in subduing Osmin with spiked wine. Constanze and Belmonte are briefly but happily reunited. Belmonte and Pedrillo confess their jealous fears to Constanze and Blonde, and both women are confused and hurt. But all four talk it through and are reconciled; then they separate to await the hour appointed for the escape.

ACT 3

Belmonte and Pedrillo meet outside the palace just before midnight. Pedrillo sings a serenade as a signal to the women, and at length the women appear. In the midst of the escape, the four lovers are captured. Osmin is outraged by their deceit and promises torture and death. When the Pasha appears, Belmonte tells him he is from a noble family that will pay handsomely for his release. His name is Lostados; a name that is not new to the Pasha. He suffered the great humiliation of his life—loss of his beloved and his homeland—to another Lostados, Belmonte’s father. The Pasha asks Belmonte what his father would do were he in the Pasha’s position now. The four captives are sentenced to death and left alone as the Pasha and Osmin go to prepare for the prisoners’ execution. Constanze tells Belmonte that death cannot stop their love, it can only free them to love peacefully, and Belmonte understands that with her he can do anything, even welcome death. The Pasha returns and surprisingly forgives them, because he will not repay ill with ill and because he loves Constanze. He frees both pairs of lovers and sends them home, causing Osmin great anguish. Taking their leave, the four lovers offer their respect and gratitude for the gifts the Pasha has given them.

I did not expect the opera to be such a modern thing. There was nothing between me and the drama. Except a symphony orchestra.