Die Entführung aus dem Serail Tickets

Théâtre des Champs-Elysées, Paris, France

Scene 2 from the opera "Die Entführung aus dem Serail"

Scene 1 from the opera "Die Entführung aus dem Serail"

Scene 3 from the opera "Die Entführung aus dem Serail"

Scene 4 from the opera "Die Entführung aus dem Serail"

Scene 5 from the opera "Die Entführung aus dem Serail"

Scene 6 from the opera "Die Entführung aus dem Serail"

Scene 7 from the opera "Die Entführung aus dem Serail"

Scene 8 from the opera "Die Entführung aus dem Serail"

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Available Dates: 3 - 12 Jun, 2026 (5 events)

Important Info

Type: Opera

City: Paris, France

Duration: 2h 30min

Sung in: German

Titles in: French,English

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: Wolfgang Amadeus Mozart

Librettist: Christoph Friedrich Bretzner

Director: Florent Siaud

Librettist: Gottlieb Stephanie

Overview

Faux exoticism and a youthful spirit so typical of early Mozart preside over The Abduction.

New production

Die Entführung aus dem Serail was not often performed for many years, but it is now recognised as a major work in Mozart’s operatic catalogue. It was criticised in the past for the unevenness of its style, which is now hailed as a sign of pleasing diversity, and Constance’s noble tone and virtuosity are in perfect harmony with Blonde’s sparkling verve and Osmin’s mischievous streak. Die Entführung aus dem Serail holds a unique place in the composer’s oeuvre because it forms a bridge between two periods – Mozart was 26 when he wrote it – and we can detect spontaneity and youth but also his mastery of writing, which is already fully developed.
The libretto is the culmination of a long history of literary plagiarism based on models in England (Dryden) and France (Marmontel). The subject matter, which is treated in the style of a “Turkery”, actually illustrates the very serious theme of the monopoly of powerful emotions which was often explored by the writers of the great French encyclopaedia who were known as the Encyclopédistes. This opera is characterized by faux exoticism, but also by subtlety and irresistible tenderness, and this cocktail would prove influential for Rossini at a later date.

Coproduction Théâtre des Champs-Élysées | Insula Orchestra

History

Premiere of this production: 16 July 1782, Burgtheater, Vienna

Die Entführung aus dem Serail (The Abduction from the Seraglio) is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Gottlieb Stephanie, based on Christoph Friedrich Bretzner's Belmont und Constanze, oder Die Entführung aus dem Serail. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of Pasha Selim. The work premiered on 16 July 1782 at the Vienna Burgtheater, with the composer conducting.

Synopsis

Place: the country house of the Pasha (German "Bassa"), in Turkey
Time: 16th century

Act 1
After a lively overture, Belmonte enters, looking for his betrothed, Konstanze, who with her English servant Blonde has fallen into the hands of pirates and been sold to Pasha Selim (Aria: "Hier soll ich dich denn sehen" – "Here surely I must find her"). Osmin, the Pasha's bad-tempered servant, comes to pluck figs in the garden and contemptuously ignores Belmonte's questions (Aria: "Wer ein Liebchen hat gefunden" – "You may think, you've found a maiden"). Belmonte tries to obtain news of his servant, Pedrillo, who has been captured with the women and is serving as a servant in the Pasha's palace. Osmin replies with insults and abuse (Duet: "Verwünscht seist du samt deinem Liede!" – "The devil take you and your song, sir"). Belmonte leaves in disgust. Pedrillo enters and Osmin rages at him, vowing to get him tortured and killed in many different ways (Aria: "Solche hergelaufne Laffen" – "These young men who go a-spying"). Osmin leaves and Belmonte enters and happily reunites with Pedrillo. Together they resolve to rescue Konstanze and Blonde, who is Pedrillo's fiancée (Aria: "Konstanze, Konstanze, dich wiederzusehen … O wie ängstlich" – "Konstanze, Konstanze, to see thee again … Oh what trembling").

Accompanied by a chorus of Janissaries ("Singt dem großen Bassa Lieder" – "Sing to the mighty Pasha Selim"), Pasha Selim appears with Konstanze, for whose love he strives in vain (Aria of Konstanze: "Ach ich liebte" – "How I loved him"). Pedrillo tricks the Pasha into hiring Belmonte as an architect. When Belmonte and Pedrillo try to enter the palace, Osmin bars their way, but they hurry past him anyway (Terzett: "Marsch! Marsch! Marsch! Trollt euch fort!" – "March! March! March! Clear off!").

Act 2

The Pasha has given Blonde to Osmin, to be his slave; however, she defiantly rebuffs her new master's rough lovemaking attempts (Aria: "Durch Zärtlichkeit und Schmeicheln" – "With smiles and kind caresses"), threatens to scratch out his eyes, and chases him out of the room (Duet: "Ich gehe, doch rate ich dir" – "I'm going, but mark what I say"). Konstanze enters and greets Blonde in distress (Aria: "Welcher Wechsel herrscht in meiner Seele … Traurigkeit ward mir zum Lose" – "Oh what sorrow overwhelms my spirit … Endless grief tortures my spirit"). The Pasha enters, demands her love, and threatens to use force, but she resolutely rejects him. (Aria: "Martern aller Arten" – "Tortures unrelenting") Left alone, he muses on her determination to remain chaste, which increases his desire for her.

Pedrillo informs Blonde that Belmonte has come and is planning to rescue them. Blonde is filled with joy. (Aria: "Welche Wonne, welche Lust" – "Oh, the happy, happy day"). After singing a short ditty to boost his courage (Aria: "Frisch zum Kampfe" – "Now Pedrillo, now for battle!"), Pedrillo invites Osmin to drink (Duet: "Vivat Bacchus! Bacchus lebe!" – "Here's to Bacchus, long live Bacchus"). Despite his religious prohibition against alcoholic beverages, Osmin drinks heavily and falls asleep. Konstanze joins Belmonte who declares his love (Aria: "Wenn der Freude Tränen fließen" – "When tears of joy flow"). The two couples reunite (Quartet, Belmonte, Konstanze, Pedrillo, Blonde: "Ach Belmonte! Ach, mein Leben" – "Ah, Belmonte, ah my dear one!"). After their initial expressions of love and joy, Belmonte and Pedrillo both question anxiously whether their respective fiancees have remained faithful during their forced separation; to their delight the women respond with indignation and dismay, and Blonde slaps Pedrillo's face. The two men apologize for their failure of confidence; the women forgive them for the offensive questions.

Act 3

Belmonte and Pedrillo come to the garden with ladders (Aria, Belmonte: "Ich baue ganz auf deine Stärke" – "Love, only love, can now direct me"). Pedrillo gets the attention of the women by singing a ballad about a rescue similar to the one he is planning (Romanze, Pedrillo: "In Mohrenland gefangen war" – "In Moorish lands a maiden fair"). However, Osmin enters, sees the ladders, and rouses the castle. Osmin exults in the prospect of seeing them all hanged (Aria: "O, wie will ich triumphieren" – "My triumphant hour's approaching"). Belmonte pleads for their lives and tells Pasha Selim that his father is a Spanish Grandee and Governor of Oran, named Lostados, and will pay a generous ransom. Unfortunately, Pasha Selim and Lostados are long-standing enemies. The Pasha rejoices in the opportunity to subject his enemy's son to a horrible death. He leaves Belmonte and Konstanze to bid each other a last farewell; they lovingly assure each other that being tortured to death will be a pleasure, so long as they get tortured to death together (Duet: "Welch ein Geschick! O Qual der Seele.... Weh, du soltest für mich sterben" – "What dreadful fate conspires against us.... Woe, you will die because of me"). However, the Pasha decides that he can make a better point against Lostados by showing mercy and releasing Belmonte and his friends. All are set at liberty – much to the dismay of Osmin, who would prefer to see them all brutally executed (Finale: "Nie werd' ich deine Huld verkennen" – "Your noble mercy passes measure").

Venue Info

Théâtre des Champs-Elysées - Paris
15 Avenue Montaigne

The Théâtre des Champs-Élysées is an entertainment venue situated near Avenue des Champs-Élysées, from which it takes its name. Its eponymous main hall may seat up to 1,905 people.

Commissioned by impresario Gabriel Astruc, the theatre was built from 1911 to 1913 upon the designs of brothers Auguste Perret and Gustave Perret following a scheme by Henry van de Velde, and became the first example of Art Deco architecture in the city. Less than two months after its inauguration, the Théâtre hosted the world premiere of the Ballets Russes' Rite of Spring, which provoked one of the most famous classical music riots.

At present, the theatre shows about three staged opera productions a year, mostly baroque or chamber works more suited to the modest size of its stage and orchestra pit. It also houses an important concert season. It is the home venue of the Orchestre National de France and the Orchestre Lamoureux and serves as a French base for the Vienna Philharmonic Orchestra as well.

The Orchestre Philharmonique de Radio France, the Orchestre des Champs-Élysées and Ensemble orchestral de Paris play most of their concerts here too, along with other dance, chamber music, recital, and pop events.