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But I cannot compose any more, because the whole story is being altered — and, to tell the truth, at my own request.

Konstanze greets Blonde in distress (Aria: "Sorrow has become my lot"), informing her that Selim demands her love and threatens to use force.(Aria: "This also will I bear.")When she has gone, Pedrillo comes to Blonde, who is his sweetheart, and informs her that Belmonte has come and is planning to rescue them.

When Belmonte and Pedrillo try to enter the palace, Osmin bars their way, but they hurry past him anyway.(Terzett: "March! March! March!")Blonde repulses the rough lovemaking attempts of Osmin (Aria: "By tenderness and flattery."), and threatens to scratch out his eyes.

Mozart also made a strong impression on the manager of the theater, Count Franz Xaver Rosenberg-Orsini, when in the home of Mozart's friend and patroness Maria Wilhelmine Thun the Count heard him play excerpts from his opera Idomeneo, premiered with great success the previous year in Munich. With this backing, it was agreed that Stephanie would find appropriate material and prepare a libretto for Mozart.

Like most comedies of the time, it incorporates many elements of plot and characterization established by the popular Commedia dell'arte.Certain aspects of the opera conform to an eighteenth century European view of orientalism.

Konstanze sings in a kind of sinfonia concertante with four solo players from the orchestra; the strikingly long orchestral introduction, without stage action, also poses problems for stage directors.For discussion, see Rosen (1997, 165) and Eisen (2006, 164–165).The virtuosity of these roles is perhaps attributable to the fact that when he took up the task of composing the opera, Mozart already knew the outstanding reputations of the singers for whom he was writing, and he tailored the arias to their strengths. The first Osmin was Ludwig Fischer, a bass noted for his wide range and skill in leaping over large intervals with ease.

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