# Mozart - KV 384 - Die Entführung aus dem Serail (opera) with subtitles



## HansZimmer (11 mo ago)

How do you rate this opera of Mozart?


----------



## Mandryka (Feb 22, 2013)

Racist

Die Entführung aus dem Serail: 'O, wie will ich triumphieren' - YouTube


----------



## hammeredklavier (Feb 18, 2018)

www.youtube.com/watch?v=zRyukf0YRmc&t=29s


----------



## TwoFlutesOneTrumpet (Aug 31, 2011)

The overture is great. The rest I don't care for much.


----------



## Rogerx (Apr 27, 2018)

Excellent is my vote, I prefer Solti on Decca with the all star cast, Stupendous sound also ,


----------



## Animal the Drummer (Nov 14, 2015)

Very Good. A highly enjoyable, entertaining work which doesn't quite reach the heights of his greatest operas, but doesn't have to do so to be enjoyed on its own terms. I prefer it without the subtitles but I'm glad they're there for those who want them.


----------



## HansZimmer (11 mo ago)

Animal the Drummer said:


> Very Good. A highly enjoyable, entertaining work which doesn't quite reach the heights of his greatest operas, but doesn't have to do so to be enjoyed on its own terms. I prefer it without the subtitles but I'm glad they're there for those who want them.


Are you able to understand the lyrics without the subtitles? I need them because I don't speak German. However I can't understand the lyrics in the operas even when they are in Italian (in part because I think that it's ancient Italian, in part because the singers eat the words).


----------



## Animal the Drummer (Nov 14, 2015)

I do speak German. If I didn't I might feel differently but I'm not sure about that, because for me the music is by far the main thing and the words are secondary. If I _really_ want to know what they meant I can always look it up later.


----------



## Kreisler jr (Apr 21, 2021)

It's a great and really entertaining piece. I think the "Martern"-Aria is way too long and sticks out but other "serious" elements (like "Ach ich liebte" and the first Belmonte aria) work well within the comedy. It also has some of the most genuinely comedic music, like most of Osmin's and the Bacchus duet, a lot of which is a riot on stage if done well. It's also funny in a way that not only Osmin but also Belmonte and Pedrillo are bumbling idiots. A dramatic flaw (that cannot be blamed on Mozart, of course) is, I think, that the Bassa who should be an important, if minor character has only a speaking rôle


----------



## DaveM (Jun 29, 2015)

This is Mozart still learning his opera craft. There really isn’t anything in the way of the highly melodic arias, duets and trios that characterized his later operas. Martern aller Arten is a challenging aria, but one that IMO doesn’t withstand repeated listenings. The first of the wonderful arias that would eventually characterize Mozart operas was not to come until two years later with Ruhe Sanft in Zaide which, surprisingly, was not completed and that aria not heard during his lifetime.


----------



## hammeredklavier (Feb 18, 2018)

DaveM said:


> The first of the wonderful arias that would eventually characterize Mozart operas


Whatabout




"L'amerò, sarò costante"



DaveM said:


> was not to come until two years later with Ruhe Sanft in Zaide which, surprisingly, was not completed and that aria not heard during his lifetime.


Didn't he work on Zaide in 1780 (but left it unfinished), and then Idomeneo in 1781, and then Die Entführung aus dem Serail in 1781-1782?


----------



## Kreisler jr (Apr 21, 2021)

There is nothing "immature" about Mozart's *music *in the Abduction. He was not a learner but a complete master of his craft. It is obviously mostly a comedy and the unevenness is mostly due to the crude libretto and plot (like having the Bassa only in a speaking rôle, so his grand humanist gesture has only the slightly trite music of the ensemble thanking him (Wer soviel Huld vergessen kann) and the ill fitting bravura aria. He apparently had to include it for a star singer, (he writes something like that he had to sacrifice Konstanze's aria for the sake of the virtuoso throat of that diva) although I am not sure if we know what his plans for an alternative piece could have been. This unevenness leads to the "secondary" characters being better characterized than Konstanze and Belmonte; the character depicted most convincingly is probably the caricature Osmin but I think the comedic pieces with Osmin, Pedrillo etc. are more funny than e.g. Papageno vs. Monostatos in Magic Flute.


----------



## HansZimmer (11 mo ago)

hammeredklavier said:


> "L'amerò, sarò costante"


I read somewhere that the musicologists have abandoned the old idea that Mozart became a great composer in the Vienna period and that today they recognize that he has been a great composer during his entire life.

You can already find memorable arias in the first opera, which he composed at the age of 11.

However, the video doesn't work.


----------



## Xisten267 (Sep 2, 2018)

Excellent in my view, although I still prefer Mozart's _Idomeneo_, _Le nozze di Figaro_, _Don Giovanni_, _Così fan tutte_ and, particularly, _Die Zauberflöte_ over it (somehow I've never heard _La clemenza di Tito_ so far so I can't say anything about this work). An 8.0 out of 10 in terms of how much I enjoy it.


----------



## hammeredklavier (Feb 18, 2018)

HansZimmer said:


> I read somewhere that the musicologists have abandoned the old idea that Mozart became a great composer in the Vienna period and that today they recognize that he has been a great composer during his entire life.
> You can already find memorable arias in the first opera, which he composed at the age of 11.
> However, the video doesn't work.


It's all about how much you like, in the end. I appreciate the chromatic harmony of K.275. David Schildkret argues Mozart wrote it at 16, in 1772 (see “Ave or Vale to Colloredo: the Date of Mozart’s Mass in B-Flat Major, K. 275” in the Newsletter of the Mozart Society of America. August, 2002.")


----------

