Editing Die Entführung aus dem Serail (section)

===Act 2===
[[File:Costume Study for Blonde in the "Abduction from the Seraglio" by W.A. Mozart MET DP830229.jpg|alt=Standing woman with long braided hair|thumb|upright|Costume study for Blonde by Fries]]
<!--[[File:John frederick lewis-reception1873.jpg|thumb|upright=1.3|Illustration of the women's quarters in a [[seraglio]], [[John Frederick Lewis]], 1873]]-->
The Pasha has given Blonde to Osmin, to be his slave; however, she defiantly rebuffs her new master's rough lovemaking attempts (Aria: "{{lang|de|italic=no|Durch Zärtlichkeit und Schmeicheln}}" – "With smiles and kind caresses"), threatens to scratch out his eyes, and chases him out of the room (Duet: "{{lang|de|italic=no|Ich gehe, doch rate ich dir}}" – "I'm going, but mark what I say"). Konstanze enters in distress (Aria: "{{lang|de|italic=no|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 Konstanze's love, and threatens to use force, but she resolutely rejects him (Aria: "{{lang|de|italic=no|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, filling Blonde with joy (Aria: "{{lang|de|italic=no|Welche Wonne, welche Lust}}" – "Oh, the happy, happy day"). After singing a short ditty to boost his courage (Aria: "{{lang|de|italic=no|Frisch zum Kampfe}}"<ref> The ''[https://dme.mozarteum.at/DME/nma/scan.php?vsep=56&l=1&p1=-23#p-17 New Mozart Edition]'' points out that there is a fine example of Mozartian characterization at the end of this aria, namely when Pedrillo confuses the previous order of "{{lang|de|italic=no|Kampf}}" and "{{lang|de|italic=no|Streit}}" at the end and shouts "{{lang|de|italic=no|Frisch zum Streite! Frisch zum Kampfe! Frisch zum Streite!}}" This new order was often considered a mistake on Mozart's part and was adapted to the previous order; this intervention in Mozart's score can also be heard on most recordings of this opera. </ref> – "Now Pedrillo, now for battle!"), Pedrillo invites Osmin to drink (Duet: "{{lang|de|italic=no|Vivat [[Dionysus|Bacchus]]! Bacchus lebe!}}" – "Here's to Bacchus, long live Bacchus"). Despite his [[Khamr|religious prohibition against alcoholic beverages]], Osmin drinks heavily and falls asleep. Konstanze joins Belmonte who declares his love (Aria: "{{lang|de|italic=no|Wenn der Freude Tränen fließen}}" – "When tears of joy flow"). The two couples reunite (Quartet, Belmonte, Konstanze, Pedrillo, Blonde: "{{lang|de|italic=no|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 lack of confidence; the women forgive them for their offensive questions.