Mozart's Sparkling Comedy THE ABDUCTION FROM THE SERAGLIO Takes the Opera Company of Philadelphia Stage in February
For Release On: January 27, 2012
Contact: Tracy C. Galligher
215-893-5903 or firstname.lastname@example.org
Mozart’s Sparkling Comedy The Abduction from the SeraglioTakes the Opera Company of Philadelphia Stage in February
New, 1920s Production from Director Robert B. Driver Features Silent Film Classics
Philadelphia, PA: Mozart’s musical genius returns in a fresh, highly theatrical co-production between the Opera Company of Philadelphia and Teatro Comunale di Treviso, when The Abduction from the Seraglio runs February 17, 19m, 22, 24 & 26m at the Academy of Music. Director Robert B. Driver and Italian designer Guia Buzzi – the team who brought OCP audiences a delightful double-bill of L’enfant et les sortilèges and Gianni Schicchi in 2010– team up once again for this humorous tale of a Turkish ruler’s comically passionate pursuit of his beautiful young prisoner. This new production sets the story in the 1920s, painting the resourceful heroine Konstanze as a spy, and Belmonte, her would-be rescuer, as a handsome pilot, brilliantly playing on the timeless human foibles that still make Mozart’s work ring true.
To set the stage for this comic romp, the production draws on the world of early Hollywood cinema to create the right ambiance, weaving into the backdrop some of the decade’s most memorable black and white movies, such as Mata Hari, Our Dancing Daughters, and Wings,as this romantic adventure unfolds.
Long recognized as an engine for rising talent, the Opera Company has cast an array of today’s most thrilling new voices to conquer Mozart’s daunting arias and stratospheric high notes. Starring in her Opera Company debut as Konstanze is soprano Elizabeth Zharoff, whom Italy’s Revista magazine called “a singer with a beautiful scenic presence, of unquestionable vocal interest” at the premiere of this production in Treviso. Zharoff’s recent performances include Barbarina in The Marriage of Figaro for Opera Theatre of St. Louis and her Carnegie Hall debut as a winner of the Alexander International Vocal Competition. As a Masters student at the Curtis Institute of Music, she has recently performed the role of Marguerite in Faust and the title role in The Cunning Little Vixen, and she sings the role of Elizabeth in the upcoming Aurora Series at the Perelman production of Henze’s Elegy for Young Lovers in March.
As Belmonte, rising Spanish tenor Antonio Lozano, who has sung roles at La Scala, Barcelona, and Valencia, among others, was lauded at the Italian premiere for his “warm, vibrant voice that gave Belmonte great passion.” He has recent appearances in Italy including Clistene in L’Olimpiade at the Pergolesi Festival, and as the tenor soloist in Mozart’s Requiemat Maggio Musicale Fiorentino. He makes his OCP debut on the heels of singing the role of Lindoro in The Italian Girl in Algiers in Oviedo, Spain.
Soprano Elizabeth Reiter, who made her OCP debut as Amor in Orphée et Eurydice in 2010 and garnered critical acclaim as Aphrodite in Phaedra last June, sings the role of Blonde. This Curtis Institute alumna recently appeared in Chicago Opera Theatre’s production of The Turn of the Screw as Flora and in the roles of Ortlinde in Die Walküre and Annina in La Traviata with Frankfurt, Germany, where she is currently a member of the studio program.
Polish tenor Krystian Adam makes his Opera Company of Philadelphia debut as Pedrillo after appearing as Pisandro in Il ritorno d’Ulisse in Patria at La Scala. He performed in the recent concert and recording of La finta giardiniera and Weihnachtsoratorium with L’Arte del Modo, Leverkusen as well as a recording of Vivaldi’s Griselda for the Deutschland Radio.
Two additional OCP debuts are in store, with Danish bass Per Bach Nissen as Osmin and Swiss actor and stage director Peter Dolder as the Bassa Selim. Music Director Corrado Rovaris leads the Opera Company Orchestra in this new production that also features video design by Lorenzo Curone (L’enfant, ’09) and lighting by OCP veteran Drew Billiau.
W. A. Mozart
The Abduction from the Seraglio
(Die Entführung aus dem Serail)
New Co-Production with Teatro Comunale of Treviso
Performed in German with English translations
February 17, 19m, 22, 24 & 26m, 2012
Konstanze Elizabeth Zharoff*
Belmonte Antonio Lozano*
Osmin Per Bach Nissen*
Blonde Elizabeth Reiter
Pedrillo Krystian Adam*
Bassa Selim Peter Dolder*
Conductor Corrado Rovaris
Director Robert B. Driver
Set & Costume Design Guia Buzzi
Video Design Lorenzo Curone
Lighting Design Drew Billiau
Chorus Master Elizabeth Braden
Wig & Make-up Design Tom Watson
*Opera Company of Philadelphia Debut
Featuring the Opera Company of Philadelphia Chorus and Orchestra
ADDITIONAL OPERA COMPANY INFORMATION:
The 2011-2012 Season features The Abduction from the Seraglio and Manon Lescaut (April 2012) at The Academy of Music, Broad and Locust Streets, with Curtis Opera Theatre’s Elegy for Young Lovers (March 2012) and OCP’s Dark Sisters (June 2012) at the Perelman Theater at the Kimmel Center, Broad and Spruce Streets.
Performance times: Wednesdays at 7:30pm; Fridays at 8:00pm; Sunday matinees at 2:30pm.
For tickets, call 215-893-1018 or visit operaphila.org
SUPPORT FOR THE OPERA COMPANY OF PHILADELPHIA
The Aurora Series for Chamber Opera at the Perelman Theater is generously underwritten by Wyncote Foundation. US Airways is the official airline of the Opera Company. YAMAHA is the official piano of the Opera Company of Philadelphia. Hyatt at the Bellevue is the official hotel of the Opera Company. Burdumy Motors Incorporated is the official automotive dealership of the Opera Company. Macy’s is the sponsor of Opera Overtures pre-opera talks before each performance. The Opera Company of Philadelphia is supported by major grants from The Andrew W. Mellon Foundation, Horace W. Goldsmith Foundation, The John S. and James L. Knight Foundation, The Kresge Foundation, The Lenfest Foundation, The Pew Center for Arts and Heritage through the Philadelphia Cultural Management Initiative and the Philadelphia Music Project, The Pew Charitable Trusts and The Wallace Foundation, The William Penn Foundation and Wyncote Foundation. Additional support is provided by Beneficia Foundation, Independence Foundation, Jacob Burns Foundation, and OPERA America’s Opera Fund. The Opera Company of Philadelphia receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. General operating support is provided, in part, by the Philadelphia Cultural Fund.