
Contents
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Introduction: “The cowards of Istanbul” Introduction: “The cowards of Istanbul”
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“Here they prefer comedies”: From Zaide to the Abduction “Here they prefer comedies”: From Zaide to the Abduction
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Mozart’s “Turkish Music” Mozart’s “Turkish Music”
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“An arch-enemy of all foreigners” “An arch-enemy of all foreigners”
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Osmin and Mozart: The Humiliations of Service Osmin and Mozart: The Humiliations of Service
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Eunuchs and Castrati Eunuchs and Castrati
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The Pasha’s Overseer and the Archbishop’s Steward The Pasha’s Overseer and the Archbishop’s Steward
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Ottoman Masters and European Captives Ottoman Masters and European Captives
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Conclusion: Harlequin the Turkish Slave Conclusion: Harlequin the Turkish Slave
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5 Osmin in Vienna: Mozart’s ‘Abduction’ and the Centennial of the Ottoman Siege
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Published:September 2016
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Abstract
This chapter discusses the creation of Mozart’s Abduction from the Seraglio in 1781 and 1782 in the context of the approaching centennial of the Ottoman siege of Vienna in 1783. Mozart turned from a serious Turkish subject in the unfinished opera Zaide to a comic Turkish subject in the Abduction, using alla turca musical style. In the Abduction the issue of Osmin’s rage, his inability to master his emotions, was also relevant to Mozart’s own recent conditions of service under Archbishop Colloredo in Salzburg. Singing in the deepest part of the basso range, Ludwig Fischer in the role of Osmin offered a representation of Turkish masculinity that removed all suspicion that Osmin, as overseer of the sultan’s harem, might actually be a eunuch. In fact, eighteenth-century culture kept carefully distinct the dangerously related discourses concerning harem eunuchs, on the one hand, and operatic castrati, on the other.
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