A Radio Special: Mozart’s "Abduction from the Seraglio"

08/17/23 • 58 min

In the prime of his illustrious career, Wolfgang Amadeus Mozart ran in the realm of prominent, Black visionaries. But after composing “Zaide,” an unfinished opera depicting a slave revolt, Mozart was commissioned to create a work more palatable to the politics and pocketbooks of the late 18th century European upper class.

First heard in Vienna in 1782, “ Abduction” catered to the harsh reality of the times. As is too often the case with operas written during this time, characters of African descent are reduced to racist stereotypes, thereby oiling the wheels of Europe’s economic engine — slavery.

With this in mind, we ask: what does the future look like for opera as an art form? In this final episode of the four-part radio series, the Every Voice production team goes out to Harlem to find out how today’s youth relate to classical music. Join our host Terrance McKnight as he searches for opera’s future with composers, musicians, and thinkers of today.

“Every Voice” is hosted by Terrance McKnight. The Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Alan Goffinski. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.

This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

Previous Episode

A Radio Special: Verdi’s "Aida”

At the heart of “Aida” is an African love story: the Ethiopian princess Aida is torn between loyalty to her country and passion for her captor, the Egyptian general Radamès, who loves her in return. But when “Aida” premiered in Cairo in 1871, very few Africans went to see it, let alone could afford the price of a ticket. The original audience for “Aida,” in fact, was the European elite in Egypt, whose economic fortunes and imperial ambitions were inextricably linked to the American Civil War.

Verdi’s “Aida” often portrays Egyptians as white and free and Ethiopians as Black and enslaved, reinforcing colonial stereotypes and colorism. It’s a practice still present in many modern-day productions.

What role has opera played in colonialism, empire, and capitalism? Does art imitate life, or does it obscure it? Join McKnight’s investigation in this radio special featuring WQXR’s own Nimet Habachy, as well as opera talents Limmie Pulliam, Angela Brown, Raehann Bryce-Davis, Sir Willard White and more.

This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.