Ravinia 2026 Issue 1

SYNOPSIS The Overture introduces Turkish-styled music, featuring colorful and exotic percussion pop- ular in late-18th-century Vienna. The middle portion foreshadows Belmonte’s opening aria, here adopting a soulful, minor-key quality in contrast to the major-key vocal version to come. Act One. The square in front of Pasha’s palace, by the seashore. The Spanish nobleman Belmonte has traveled a distance to rescue his beloved Kon- stanze, held captive by the Turkish lord Pasha Selim (“Hier soll ich dich denn sehen”). Nearby, an old man named Osmin props a ladder against a fig tree, singing as he picks its fruit (“Wer ein Liebchen hat gefunden”). Several times, Bel- monte asks Osmin whether this palace belongs to Pasha, only to be ignored by the older man. The Spaniard’s inquiries about his other captive friend, Pedrillo, send Osmin into a rage: “That scoundrel, I should break his neck!” Osmin chas- es Belmonte away and further disparages Pedril- lo, who enters. The two antagonists trade insults. Osmin condemns Pedrillo for having only one purpose: sneaking into Pasha’s harem (“Solche hergelaufne Laffen”). Osmin wishes all manner of torture on Pedrillo before exiting. Belmonte soon reunites with Pedrillo and asks his friend about Konstanze. Pirates had cap- tured the ship carrying Konstanze, Pedrillo, and his sweetheart Blonde (Konstanze’s English maid). Pasha Selim purchased the three cast- aways and chose Konstanze as his “favorite.” Pe- drillo assures Belmonte that Konstanze has not succumbed to Pasha’s advances, although he is not so convinced that Blonde has spurned her uncouth new master, Osmin. Belmonte outlines the escape plan, which includes a ship already anchored in the harbor. The getaway must hap- pen quickly, says Pedrillo, that very night after Konstanze returns from her boat excursion with Pasha. Pedrillo, who has gained Selim’s confi- dence as the lord’s gardener, will introduce his friend as an architect to Pasha. Belmonte strug- gles to control his passion in anticipation of a reunion with Konstanze (“Konstanze, dich wie- derzusehen, dich!—O wie ängstlich, o wie feurig klopft mein liebesvolles Herz!”) Belmonte finds a hiding place as a Janissary cho- rus leads Pasha and Konstanze to the palace. Se- lim perceives the maiden’s sadness and asks the cause. Konstanze makes him promise not to be annoyed by her answer: she loves another man and remains faithful to him (“Ach ich liebte, war so glücklick”). Quickly forgetting his vow, Pasha erupts in anger. Konstanze acknowledges his pa- tience and goodness in giving her time to forget. Pasha grants her one more day—but only one. Uttering Belmonte’s name, Konstanze departs. This anguish and fidelity make her even more desirable in Pasha’s eyes. Pedrillo enters and introduces Belmonte as an Italian-trained ar- chitect who has come to offer his talents. Pasha bids Pedrillo take care of the young man’s needs until tomorrow. The anticipated reunion with Konstanze excites Belmonte, but Pedrillo urges restraint. In Tur- key, heads are lost on a whim, and every dark corner has ears and eyes. Osmin blocks their entry into the palace. Feigning indignation, Bel- monte derides the old man for not respecting a man of his station. Osmin orders them to march away or suffer consequences (“Ach ich liebte, war so glücklick”). Act Two. The garden in the palace of Pasha Selim; on the side is Osmin’s house. Blonde objects to Osmin’s gruffness, saying that European girls do not respond to that type of behavior. Tenderness and coaxing instill devotion and love in a girl’s heart (“Durch Zärtlichkeit und Schmeicheln”). Osmin replies that he is tender enough. In Tur- key, he is master and she is slave. Blonde con- tinues the confrontation, promising to scratch out his eyes. “By Allah,” the exasperated Osmin exclaims, she will drive him mad. Osmin orders Blonde to stay away from the rascal Pedrillo. She refuses to obey (“Ich gehe, doch rate ich dir”). The old man rushes out. Konstanze approach- es and laments the loss of Belmonte (“Welcher Wechsel herrscht in meiner Seele … Traurigkeit ward mir zum Lose”). One more day is all Pasha will grant her. Who knows what the morning will bring? Blonde remains hopeful. Pasha Selim approaches and warns Konstanze that tomorrow she must love him. Suddenly tenacious and indignant, Konstanze counters that he cannot command love as if ordering a beating. Death, she argues, is the only thing left to await. Selim does not offer death but unimag- inable torture. Konstanze bravely promises to endure torture rather than betray her true love (“Martern aller Arten”). Her determination sur- prises Pasha, who decides to succeed by cunning instead of force. Selim departs. Blonde enters the now-empty room and wonders if Konstanze has finally acceded to Pasha’s desire. Pedrillo appears and explains that Belmonte has come to rescue them. Blonde urges him to tell Kon- stanze their plans. A sleeping potion will knock out Osmin so the four can safely escape. Blonde anticipates their flight from grief and sorrow (“Welche Wonne, welche Lust”). Pedrillo seeks the courage to liberate his beloved (“Frisch zum Kampfe, frisch zum Streite!”). Osmin enters and starts to argue with Pedrillo. They should set aside venom and knives, Pedril- lo suggests, and enjoy a flask of Cypriot wine. Fearing the wrath of Allah and possible poison- ing, Osmin resists. Pedrillo coaxes him to drink with a rousing song (“Vivat Bacchus! Bacchus lebe!”). Unaccustomed to the effects of alcohol, in this case enhanced by a sleeping potion, Os- min overindulges and soon falls asleep—unfor- tunately three hours too soon. Belmonte enters, eagerly anticipating Konstanze’s arrival. The two lovers embrace, and Belmonte is overcome with joy (“Wenn der Freude Tränen fließen”). Blonde joins the reunion, as all four exiles share a mo- ment of bliss. Each man questions his partner’s fidelity; both women are scandalized by their doubts. Pedrillo and Belmonte reassure one another and beg forgiveness from Blonde and Konstanze. Act Three. The square in front of Pasha’s pal- ace. On one side Pasha’s palace, opposite Osmin’s house. In the background, a view of the sea. Pe- drillo carries a ladder to the palace to rescue Blonde and Konstanze. Belmonte asks if every- thing is ready (“Ich baue ganz auf deine Stärke”). All that remains is Pedrillo’s nightly song for the Janissary guard. The clock strikes midnight. Belmonte keeps watch for intruders while a sud- denly fearful Pedrillo sings his romance (“In Mohrenland gefangen war”). The women fail to appear immediately, and Pedrillo continues his serenade. Konstanze opens the palace window and is res- cued by Belmonte. Moving to Osmin’s house, Pedrillo scales the ladder for his Blonde. The drowsy Osmin and his mute servant hear a noise. A guard captures Pedrillo and Blonde and returns them to Osmin. Pedrillo attempts to bargain for his life with Osmin, who lusts for the miscreant’s head. Another guard enters with Belmonte and Konstanze. Osmin anticipates re- venge in the imminent execution of these four renegades (“O, wie will ich triumphieren”). A room in Pasha’s palace. Pasha Selim orders an officer to investigate the noise outside. Osmin tells his lord that the two “Christian men” have stolen their “wives.” Selim demands an explana- tion from Konstanze. She admits guilt and offers her life instead of Belmonte’s. For his part, Bel- monte kneels before Pasha, begs for mercy, and declares that his old Spanish family—the Losta- dos—will pay his ransom. Shocked, Selim asks Belmonte if he knows the commander of Oran, his sworn enemy. The commander is Belmonte’s father. Selim urges Osmin to hasten their torture and execution. Belmonte and Konstanze decry their cruel fate and prepare to die (“Welch ein Geschick! O Qual der Seele! … Meinetwegen willst du sterben!”). A frightened Pedrillo ad- mires Blonde’s courage in the face of death. Selim once again speaks. His hatred for Bel- monte’s father has prompted a change of heart. Although he detests the commandant, Pasha refuses to repeat his wickedness. Instead, he of- fers freedom to the four captives and orders Belmonte to deliver a message to his father: Pa- sha Selim took greater pleasure in rewarding an injustice with justice than repaying an evil with evil. The entire company—with the exception of Osmin—praises Pasha Selim’s compassion, mercy, and wisdom. –Program notes © 2026 Todd E. Sullivan RAVINIA.ORG • RAVINIAMAGAZINE 79