Sung in English
Lasts approximately 2 hours 50 minutes, with 2 intervals.

The beautiful Constanze is captured, along with her maid and servant, by Pasha Selim. Her lover Belmonte hears of her capture and seeks to rescue her. In the meantime Pasha has fallen in love with Constanze. This comic tale explores tensions and misunderstandings that can arise when one culture collides with another.

Mozart's music is full of drama, beauty and youthful energy, incorporating a dizzying variety of styles. In the new production, sung in English, director Tim Hopkins gives a modern interpretation to the story that was originally set in 18th century Turkey.

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Act One

The Pasha’s Mute sets the scene
The entrance to the palace of the Pasha

Belmonte de Lostados arrives from Spain on a mission to rescue his beloved Constanze. Following her disappearance many months before, word has reached him that she and her servant Blonde are the Pasha’s captives, together with Belmonte’s servant Pedrillo.

Belmonte is prevented from entering the palace by Osmin, the Pasha’s servant, who regards all visitors with suspicion. Pedrillo appears. Relieved to see that Belmonte has at last arrived, he tells him that Constanze has aroused the interest of the Pasha himself, and that Pedrillo’s girl Blonde is the captive of Osmin. Belmonte is alarmed. Pedrillo urges calm, as he has a plan for Belmonte to get access to Constanze and effect the escape of them all.

Constanze and the Pasha return from a trip. She asks him about his past. He refuses to answer, but presses her to marry him. Distraught, she refuses and leaves.

Pedrillo introduces Belmonte as a visiting architect, proposing he be admitted to the palace. Distracted, the Pasha agrees.

Belmonte, disturbed by the image of Constanze and the Pasha together, is guided by Pedrillo to the entrance, only to find they must first get past Osmin, who remains hostile.

They succeed and enter the Palace.

Act Two

The Mute sets the scene
A beautiful new palace

Belmonte wanders among its buildings, writing a note to Constanze telling her that he has come to rescue her, promising his undying love. He gives it to Pedrillo, to give to Blonde in the hope she can give it to Constanze.

Constanze, unaware of Belmonte’s arrival, writes a letter to the Pasha, admitting that she is falling in love with him, but asking him to give her time to overcome how she still feels about someone else (Belmonte). She gives it to Blonde, to deliver to the Pasha but before she can deliver it, Osmin appears, sees the letter and demands to read it. Blonde refuses and they argue.

Constanze, in turmoil, tries to be reconciled to her changing heart. Blonde joins her, trying to avoid Osmin who remains on patrol. The Pasha arrives unexpectedly and Constanze dismisses Blonde before she can deliver Constanze’s letter.

The Pasha declares he will announce their betrothal that night at a grand celebration and they will marry tomorrow. Constanze reacts badly. The Pasha is confused.

Pedrillo and Blonde try to deliver the letters to Constanze and the Pasha, but they are ignored and dismissed. They realise they both have letters, and read them. Aghast at the bad timing of the situation, Pedrillo and Blonde decide not to deliver them, and proceed with a rescue plan. First they must restore Belmonte to Constanze.

The Pasha is expected to arrive soon. While Osmin is distracted by Pedrillo, Belmonte reveals his presence to Constanze. She is stunned. Belmonte and Pedrillo admit to doubts about the women, who vigorously protest. The men say they are convinced and ask for forgiveness. The women agree, and both couples declare their belief in the endurance of love.

The Mute looks on. The letters remain unread and at large. The Pasha arrives.

Act Three

The Mute sets the scene

Waiting for the rescue to begin, Belmonte reflects on faithfulness in love and images of Constanze. Pedrillo joins, and gives a signal for Blonde to admit them to Constanze’s apartments. As they enter, Osmin surprises them, thwarting their plan. He goes to alert the Pasha, leaving the Mute to guard them. They overpower the Mute, but find there is no means of escape.

The Pasha enters to discover the four westerners together in Constanze’s bedroom. He assumes she has been the victim of a violent attack.

The Mute shows the Pasha the letter from Belmonte revealing who he is and his relationship with Constanze. The Pasha realises that Belmonte is none other the son of De Lostados. Overwrought, he leaves, without explaining the significance of this.

Belmonte and Constanze assume they are doomed.

The Pasha returns, and tells the bitter story of Belmonte’s father, who he claims stole the woman he loved and ruined his early life. He asks Belmonte what he would do if confronted by what Belmonte has done?Everyone expects the worst. But the Pasha rejects revenge, releasing Constanze to the man he assumes she loves, and allowing all the westerners to leave.

They are grateful, and humbled. Singing his praises, they leave.

Alone with the Pasha, the Mute hands him Constanze’s undelivered letter. He reads it, contemplating the second ruinous misfortune of his life.
 

"Opera North has established a fresh, young team, of whom debutante conductor Rory Macdonald is the youngest and freshest of all. His sprightly account is well supported by Elena Xanthoudakis's dark-toned Blonde, Allan Clayton's ardently sung Belmonte and Nicholas Sharratt's powerful Pedrillo." Alfred Hickling - The Guardian

"(Tim Hopkins’) atmospheric décor for acts two and three features a skyscraper motif amid a dusky Middle Eastern rockscape, vividly lit by Zerlina Hughes. He also draws strong performances from his principles; I’ve never seen the Pasha-Constanze scenes bristle with such authentic sexual tension.” Andrew Clark- Financial Times

"Mozart's East meets West comic opera is given contemporary touches in this enjoyable new production by Opera North. Classic Arabian Nights costumes mix with modern clothing and the sets are strikingly simple." Kevin Berry - The Stage

"The young Scottish soprano, Kate Valentine, makes a winsome Constanze, meeting Mozart’s technical demands with brilliance and beauty of tone…” David Denton - Yorkshire Post