Abduction!
- Lyn Richards
- Aug 26
- 4 min read
Updated: Aug 29
Would Mozart have approved? His music is untouched (and splendidly sung) in Victorian Opera's production of an entirely new opera - new (English) libretto, new setting, new plot, but (most of) the same 250 years old songs (in German). They fit amazingly well in this new production.
Director Constantine Costi previously did this to Shostakovich, with Melbourne Cheremushki. According to Vic Opera Abduction "brings a cheeky, modern edge to this classic with a fresh, English-language libretto that delves into themes of lust, obsession and unwavering loyalty. Conductor Chad Kelly leads Orchestra Victoria in a performance grounded in Mozart’s original intentions." More here from Victorian Opera.
The Story?
Well it's the same story brought forward - or is it? Two affianced young women daring to explore now as they won't be allowed to do soon.
The relocation fits oddly of course - this is not a kidnap or to a Seraglio but daring entry into a nightclub or cult or some such adventure that the women egg each other into trying for fun.
As in the original opera, the new setting proves more than a little challenging. We follow their temptation and enjoyment of the exotic and varied celebrations of sexuality, and the fascination of the Pasha figure (a nonsinging part here as originally).
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And the songs (sung in German) fit pretty well with this version of the story. It helps that Vic Opera collected a fine cast of fine singers.
Even the extraordinary aria Mozart wrote for Konstanza, "Martern aller arten" - "Tortures of all kinds" is fitted into the blood red setting of sexual excitement. (Read more about this aria on my previous blog.) And our Konstanza performs it brilliantly.
Reviews?
Limelight gave it 4and a half stars. "With its libretto about two Western women’s capture and enslavement in the “exotic” East, Mozart’s Abduction from the Seraglio is understandably not often performed these days. Rather than deny audiences the pleasure of his music, however, Victorian Opera offers a clever adaptation that removes the opera’s offensive elements while retaining its danger and desire. Simply called Abduction, this fresh, contemporary take also elevates the theme of self-discovery.
It’s interpreted by an excellent Australian cast, including two nipping home from European careers, in a production with a sumptuous, sexy design that belies its tight budget.This bold, beautifully staged adaptation of an opera classic ditches the outdated bits so we can still enjoy Mozart’s glorious music."
The Age gave it 4: "Victorian Opera took a massive, though calculated risk with Abduction at the Palais on Tuesday and, judging by the ecstatic reaction from an unusually young audience, it paid off handsomely."
On the House asked: "What would Mozart think? Given his playful wit, love of theatricality, and tendency toward cheeky irreverence, it’s tempting to think that a modern-day Mozart might have adored this riotous remix filled with modernisms e.g. Aldi ladders, allusions to crossfit, and a lot of fun. Let's not forget, this was a composer who thrived on collaboration, delighted in absurdity, and never shied away from poking fun at the conventions of his day.
Victorian Opera’s Abduction may not be for the faint-hearted, but it is a feast for the senses — and perhaps, somewhere, Mozart is raising a glass, grinning at the audacity of it all."
And mine? I've one serious regret, and I'm disappointed that none of the reviews agree!
I think Mozart would love the lurid presentation and approve of the singing, but maybe find it all a bit unsubtle, tedious. His opera stories are never simple. Constantine Costi has chosen to keep the opera on that single strand story of sexual adventure and excitement. The promotion of the opera says that clearly - this is going to be daring delving "into themes of lust, obsession and unwavering loyalty."
But Mozart, brilliantly, placed those in the Enlightenment context of daringly delving into social inequality. Vic Opera's modern women are contemporary friends and equals, as are their gormless fiances. They respond differently to the challenges of their adventure, but not because they are from different classes. This version has ditched Mozart's pervasive theme of social class levels, how they govern behaviour, understanding, culture, strategies. So Costi misses the subtle interplay of mistress and servant important in many of his operas - and a lot of the strands of humour in those operas, not least Abduction from the Seraglio.
Did Costi not think we had class differences today? Or was it too hard to wind them, as Mozart did, into a story of sexual adventure and temptation? No, it's not "Mozart's Abduction". But it's his music, even if the words don't fit the story well, and it's a lot of fun.
Lyn, 29/8/25
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