Mozart: Die Entführung aus dem Serail, K384

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Mozart: Die Entführung aus dem Serail, K384



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24th June 2016




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Mozart: Die Entführung aus dem Serail, K384

Jane Archibald (Konstanze), Norman Reinhardt (Belmonte), David Portillo (Pedrillo), Rachele Gilmore (Blonde), Mischa Schelomianski (Osmin), Christoph Quest (Pacha Selim)

Le Cercle de l’harmonie, Jérémie Rhorer

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The conductor Jérémie Rhorer is today regarded as one of the finest interpreters of the music of Mozart in general and his operas in particular. After conducting Die Entführung aus dem Serail at the Festival d’Aix-en-Provence in 2015, he performed it again at a memorable concert at the Théâtre des Champs-Élysées in Paris in September of that year with his orchestra, Le Cercle de l’Harmonie. It is this exceptional event, captured in a live recording conveying all the dramatic intensity of the opera, that we present today.

‘In Die Entführung, Mozart presents a completely unprecedented vision of the singspiel, with highly developed ensembles and musical continuity at a time when contemporary spectators were expecting the standard alternation between spoken and sung sections’, says Jérémie Rhorer in the interview that accompanies the discs. That musical dramaturgy lies at the centre of this interpretation, which is served by an outstandingly homogeneous cast. This recording launches a series of recordings of concerts at the Théâtre des Champs-Élysées and a collaboration between Alpha Classics and Le Cercle de l’Harmonie, who will continue to place their excellence at the service of the great masterpieces of Mozart – and of other composers: watch this space!

Wolfgang Amadeus Mozart: Die Entfuhrüng aus dem Serail, K. 384


Die Entfuhrüng aus dem Serail, K. 384, Act I

Act I: Scene 1: Aria: Hier soll ich dich denn sehen, Konstanze! (Belmonte)

Act I Scene 2: Duet: Wer ein Liebchen hat gefunden (Osmin, Belmonte)

Act I Scene 3: Dialogue: Nun, wie stehts, Osmin? (Pedrillo, Osmin)

Act I Scene 3: Aria: Solche hergelaufne Laffen (Osmin, Pedrillo)

Act I Scene 4: Dialogue: Geh nur, verwunschter Aufpasser! (Pedrillo, Belmonte)

Act I Scene 5: Konstanze! dich wieder zu sehen! (Belmonte)

Act I Scene 6: Singt dem grossen Bassa Lieder (Chorus of the Janissaries)

Act I Scene 7: Dialogue: Immer noch traurig, geliebte Konstanze? (Selim, Konstanze)

Act I Scene 7: Ach ich liebte, War so glücklich! (Konstanze)

Act I Scene 8: Dialogue: Bedenke, du bist in meiner Gewalt (Selim, Konstanze, Pedrillo, Belmonte, Osmin)

Act I Scene 10: Trio: Marsch, marsch, marsch! (Osmin, Belmonte, Pedrillo)

Die Entfuhrüng aus dem Serail, K. 384, Act II

Act II Scene 1: Dialogue: O des Zankens, Befehlens und Murrens wird auch kein Ende! (Blonde)

Act II Scene 1: Aria: Durch Zärtlichkeit und Schmeicheln (Blonde)

Act II Scene 1: Dialogue: Zartlichkeit! Schmeicheln! (Osmin, Blonde)

Act II Scene 1: Duet: Ich gehe, doch rate ich dir (Osmin, Blonde)

Act II Scene 2: Recitative: Welcher Wechsel herrscht in meiner Seele (Konstanze)

Act II Scene 2: Aria: Traurigkeit ward mir zum Loose (Konstanze)

Act II Scene 2: Dialogue: Mein bestes Fraulein! noch immer so traurig? (Blonde, Konstanze, Selim)

Act II Scene 3: Aria: Martern aller Art (Konstanze)

Act II Scene 4: Dialogue: Kein Bassa, keine Konstanze mehr da? (Blonde, Pedrillo)

Act II Scene 6: Aria: Welche Wonne, welche Lust (Blonde)

Act II Scene 7: Dialogue: Dass es schon vorbei ware! (Pedrillo)

Act II Scene 7: Aria: Frisch zum Kampfe! (Pedrillo)

Act II Scene 8: Dialogue: Ha! Geht's hier so lustig zu? (Osmin, Pedrillo)

Act II Scene 8: Duet: Vivat Bacchus! (Pedrillo, Osmin, Belmonte, Konstanze)

Act II Scene 9: Aria: Wenn der Freude Tränen fließen (Belmonte)

Act II Scene 9: Quartet: Ach Belmonte! ach mein Leben! (Konstanze, Belmonte, Pedrillo, Blonde)

Die Entfuhrüng aus dem Serail, K. 384, Act III

Act III Scene 1: Ich baue ganz auf deine Stärke (Belmonte)

Act III Scene 4: Romance: In Mohrenland gefangen war ein Mädel (Pedrillo)

Act III Scene 5: Dialogue: Konstanze! Hier bin ich! Lass uns gehen! (Belmonte, Osmin, Pedrillo)

Act III Scene 5: Aria: O, wie will ich triumphieren (Osmin)

Act III Scene 6: Dialogue: Osmin, was gibt's? Was bedeutet der Aufruhr? (Selim, Osmin, Konstanze, Belmonte)

Act III Scene 7: Recitative and Duet: Welch ein Geschick! (Belmonte, Konstanze)

Act III Scene 8: Dialogue: Erwartest du dein Urteil? (Selim, Belmonte, Konstanze, Pedrillo, Osmin)

Act III Scene 9: Nie werd' ich dich deine Huld verkennen (Belmonte, Konstanze, Pedrillo, Blonde, Osmin)

Act III Scene 9: Bassa Selim lebe lange (Chorus)

Sunday Times

3rd July 2016

“The downside is a demonstrative audience, but Rohrer's way with the music is so invigorating — like Jacobs, he uses period instruments, which highlight Mozart's "Turkish" orchestration — that there are compensations aplenty...His cast mostly equals or even surpasses the rival sets.”

The Guardian

28th July 2016


“It’s definitely a live performance – the audience makes its enthusiasm felt and the sound isn’t entirely polished, which I quite like. The cast is pretty appealing...[Rhorer offers] a whole lot of orchestral charisma: an overture full of bounce and clatter, pacey tempos that fizz but also breathe, textures that are bright and fibrous, a delivery that is happily slapdash without getting messy.”

Gramophone Magazine

September 2016

“Archibald sings Konstanze’s set pieces with admirable dignity…[Reinhardt’s] depiction of the would-be rescuer’s shifting emotions of ardent sentimentality and naïve hopefulness are spot-on…and every detail of instrumental colour and emotional expression is realised neatly by Rhorer and his orchestra”

BBC Music Magazine

November 2016


“Jane Archibald (Konstanze) is agile and blends well with Belmonte…Norman Reinhardt (Belmonte) has a pleasing, ‘open’ voice…the Russian bass Mischa Schelomianski (Osmin) is sonorous and sometimes menacing”

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