Editing Die Entführung aus dem Serail (section)

==Composition==
Mozart received the libretto from Stephanie on 29 July 1781. He had few opportunities to compose professionally during the summer and he set to work on the libretto at a very rapid pace, finishing three major numbers in just two days. A letter to his father [[Leopold Mozart|Leopold]] indicates he was excited about the prospect of having his opera performed in Vienna and worked enthusiastically on his project.<ref>{{lang|de|Mozart Briefe und Aufzeichnungen}} No. 615. Collected edition, Internazionalen Stiftung Mozarteum, Salzburg.</ref>

At first Mozart thought he needed to finish his opera in only two months, because tentative plans were made to perform it at the September visit of the Russian [[Paul I of Russia|Grand Duke Paul]] (son of [[Catherine the Great]] and heir to the Russian throne). However, it was ultimately decided to perform operas by [[Christoph Willibald Gluck|Gluck]] instead, giving Mozart more time.{{sfn|Braunbehrens|1990|loc=61}}

[[File:Mozart Portrait Croce.jpg|thumb|upright|left|Mozart around the time of composition]]
It was around this time that Mozart articulated his views about the role of the composer and the librettist in the preparation of an opera. He wrote to his father (13 October 1781):
{{quote|text=I would say that in an opera the poetry must be altogether the obedient daughter of the music. Why are Italian comic operas popular everywhere – in spite of the miserable libretti? … Because the music reigns supreme, and when one listens to it all else is forgotten. An opera is sure of success when the plot is well worked out, the words written solely for the music and not shoved in here and there to suit some miserable rhyme ... The best thing of all is when a good composer, who understands the stage and is talented enough to make sound suggestions, meets an able poet, that true phoenix;<ref>By this Mozart meant something exceedingly rare. The same metaphor is used in the first scene of Mozart's later opera {{lang|it|[[Così fan tutte]]}}.</ref> in that case, no fears need be entertained as to the applause – even of the ignorant.<ref>Quoted in {{harvnb|Braunbehrens|1990|loc=61–62}}.</ref>}}

It would seem that something along these lines did happen—that is, Mozart decided to play a major role in the shaping of the libretto, insisting that Stephanie make changes for dramatic and musical effect. On 26 September Mozart wrote:
{{quote|text=Now comes the rub! The first act was finished more than three weeks ago, as was also one aria in act 2 and the drunken duet ["Vivat Bacchus", act 2] ... But I cannot compose any more, because the whole story is being altered – and, to tell the truth, at my own request. At the beginning of act 3 there is a charming quintet or rather finale, but I would prefer to have it at the end of act 2. In order to make this practicable, great changes must be made, in fact an entirely new plot must be introduced – and Stephanie is up to his neck in other work. So we must have a little patience.<ref>Quoted in {{harvnb|Braunbehrens|1990|loc=77–78}}.</ref>}}

Mozart was evidently quite pleased to have in Stephanie a librettist who would listen to him. The September 26 letter also says:
{{quote|text=Everyone abuses Stephanie. It may be the case he is only friendly to my face. But after all he is preparing the libretto for me – and, what is more, exactly as I want it – and by Heaven, I don't ask anything more of him.<ref>Quoted in {{harvnb|Braunbehrens|1990|loc=62}}.</ref>}}

With the delays for rewriting, the composition took several more months. The premiere took place on 16 July [[1782 in music|1782]], at the [[Burgtheater]] in Vienna.<ref>{{Almanacco|dmy=16-07-1782|match=Entführung|label={{lang|de|Die Entführung aus dem Serail}}, 16 July 1782}}</ref>