Entfuhrung aus dem Serail - Wie will ich triumphieren

Video Cues:
00:38 - "denn nun" theme
00:44 - repeat with sustained A2 note
2:07-2:26 - coloratura section
2:16-2:26 - from E2 up to A3 and down to A2
2:28 - "denn nun" theme again
2:35 - repeat with sustained D2!

The Abduction from the Seraglio is the first of Mozart's five operatic masterpieces. It was written on a level of complexity and breadth unfathomable for German songspiels of the time.

This particular aria is notable for its difficulty. In particular, the performer must hit low D (two D's below middle C) twice in the course of the aria. This low D is, in fact, the lowest sung note in the standard concert repertoire. It happens on the two times that the bass sings "denn nun hab ich vor euch Ruh" as explained below.

Mozart assigns a 7-note "theme" to the syllables "denn nun hab ich vor euch Ruh" (00:38). It is a simple theme, merely 5 notes descending in whole steps from A3 followed by 2 notes re-ascending, also in whole steps.

After a brief pause, the theme is repeated (00:44), only the first note is an entire octave lower than before - at A2. As before, the theme descends 5 notes to D2. This famous note D2 is the lowest sung note in the classical repertoire, and is outside the normal range of basses. Reaching it is no easy feat. Perhaps showing uncharacteristic mercy, Mozart allows his theme to jump to a more comfortable A2 before having the bass sustain the long note. Despite having to reach D2, this was the easy part.

The theme pops up again at the end of the aria. This time, it follows a difficult coloratura section (2:07-2:26) in which the bass must sing an elaborate tune full of runs up and down on the musical scale. Right before beginning the "denn nun..." theme, the bass is required to go from E2 up to A3 and then back down to A2 in one step (2:16-2:26). That bit is tiresome, but Mozart affords the bass only the tiniest rest before beginning the "denn nun" theme.

The familiar 5-note cascade begins again (2:28) - this time on D3. Uh-oh. If on the first go-around, we descended an entire octave for the repeat, does this mean that this time, the repeat will begin at D2? That's what the rules tell us, but Mozart is making up the rules and he does something way more ingenius.

The repeat (2:35) begins not an octave lower, but at the same spot. Barring a couple of minor semi-tone changes, the repeat is exactly the same as the first run. This means that, according to the rules, this theme will end relatively easily for the bass. On the ascent in the second repeat, he'll jump up to a very comfortable D3 before having to sustain the long note.

But no! Instead, Mozart makes him go DOWN - down FOUR steps to D2. The bass is now faced with the sickening challenge of holding a D2 note for 8 bars. What could have possessed Mozart to write that sustained D2? Trying to set a record? Well, he succeeded. But no. Mozart was likely doing what he always tried to - imbue his characters with emotion and life through his music. Remember, this entire aria is about his joy at being able to decapitate his two prisoners. That D2 represents the unbridled and giddy evil that permeates Osmin's character. The D2 is a brilliant choice by Mozart and a surprising one. But in retrospect, it fits perfectly with the evil Osmin we know and love.

I've heard many basses try to perform this D2 note. Only one I've heard has done it convincingly. He's not the one in this video.

Category:

Music

Tags:

• mozart
• abduction
• from
• seraglio
• Kurt
• Rydl
• opera
• zauberflote
• magic
• flute
• marriage
• figaro
• classical
• mei

[BorisGodunov]

The reason Mozart wrote the low D notes--indeed, the entire role of Osmin--was because he was blessed with the brilliant basso Ludwig Fischer, who reportedly had a three-octave range of C2-C5. And I have a recording of Rydl hitting the low D convincingly enough, but he was probably younger than here, and it is not a live recording.

[Schrittschwitzer24]

der wahnsinn dieser mozart.habe das Stück

bei Aufnahmeprüfung gesungen.die lehrer waren begeistert (:

[spyridon77]

Beautiful dynamics!

[YungRulaOfficial]

@BorisGodunov Yeah I know what you mean with the enhancements, pretty much anyone not singing classical or opera style music use vocal enhancements, but also though you must realize if you are a opera singer, and recording for a soundtrack you will still use vocal enhancements I don't like Carey by any means I don't even listen to her music, but I am a fan of singers, and can recognize great ones like YMA SUMAC that is one woman with a weird voice trust me she needs to be checked out.

[BorisGodunov]

@YungRulaOfficial Two things: If you don't believe that Mariah Carey has relied on electronic enhancement of her voice during her career, you're a bit naive. And second, notice that I said "usable in an opera house." Neither Carey nor Lopez are opera singers, and neither would be capable of displaying a 5 octave range on a stage without microphone. Making noise into a microphone is a far, far different thing than singing opera live.

[YungRulaOfficial]

@BorisGodunov Actually that is in correct even better there are two people for a fact that can hit 5 and above....Mariah Carey can hit a 5 octave range this is the proof >>>>> watch?v=j_IEEu2zhZk and Adam Lopez current World Guiness record holder for a C# in the 8th octave and this is the proof>>>>>watch?v=Kdp4NHWr7G8 I thought the same thing no way I am a big classical fan believe it or not, and finding out that there are people with this talent not signing classical just startled me.

[BorisGodunov]

@YungRulaOfficial A 5-octave range that is actually usable in an opera house would indeed impressive, as would a 6 or 7. But such voices don't exist.

[YungRulaOfficial]

@BorisGodunov Just saying a three-octave range, but what about a five-octave range that is even more impressive...just saying

[burkewhb]

@johnnny49 Mozart wasn't deaf, like Beethoven, but in this opera, Abduction from the Seraglio, he wants to feature the power of his bass and soprano's voices. Besides this aria, which features the low notes of the harem overseer, there is another great aria in this opera, 'martern aller arten', in the second act, which requires a very strong female soprano voice, which you can hear on a you tube video with Diana Damrau, one on the best sopranos around.

[burkewhb]

I think that Kurt Rydl puts on a much better show with his performance than Kurt

Moll, who just stands there dressed in a sheet and hardly moves. Rydl sings

maybe not quite as well as Moll, but close enough and his movements cracking

the rope are very funny and entertaining.

[Horst1204]

geil!