A first in opera brings comedy and Mozart into dialogue.
For the new production of Mozart’s The Abduction from the Seraglio (1782) at the Berlin State Opera, opera meets stand-up: comedian BÜLENT CEYLAN takes on the role of Bassa Selim and comments live on the action unfolding on stage. Together with director ANDREA MOSES, he discusses cultural barriers, humour and the question of who opera actually belongs to today.
BURCU BEAUFORT Bülent, what is your connection to opera?
BÜLENT CEYLAN When I was a teenager, I actually wanted to become an opera singer. My singing teachers told me I was a bass-baritone. I’d always enjoyed listening to opera and classical music; I’ve always had a connection to it.
BB And why didn’t you pursue a career as an opera singer?
BC Well, I was told at some point that the superstars are the tenors. That was the end of that for me.
BB How did the idea come about to bring Bülent into a Mozart opera in this way?
ANDREA MOSES The artistic director, Elisabeth Sobotka, suggested the piece to me and came up with the idea of casting Bülent as Bassa Selim. But nobody knew how. So I took on the task and first had to find the artistic reason why it had to be Bülent and nobody else. Now I feel: it can only be Bülent.
BB When the idea came up, did you agree straight away, or did you have doubts about whether it would work at all?
AM To be honest, I was surprised at first and just thought: “Wow, that’s a real challenge.” I then read Bülent’s biography Ankommen: Aber wo war ich eigentlich?, which really moved me. In it, he describes his childhood in Mannheim-Waldhof, marked by crises, discrimination and bullying due to his background. This ‘othering’, the feeling of being the ‘other’ and still standing your ground, sounds familiar to me. What’s special about Bülent is that he didn’t elbow his way past others to achieve success, but instead uses his work to encourage understanding. He addresses racism, cultural appropriation and prejudice, with extreme perspectives on every side, precisely the themes that also lie at the heart of this play. Bassa Selim, too, is excluded from his world. In the end, he shows generosity, learns that he cannot force love, and that he must forgive. This is precisely where we find the connection to Bülent, who repeatedly speaks of tolerance and forgiveness in his shows.
BB Bülent, what did you have in mind for this project when Andrea approached you?
BC At first I thought I’d just be playing Bassa Selim and simply performing the role. But in our production of the play, the boundaries between the role and my own personality become blurred. That’s why it’s such a wild ride.
BB Has the text been heavily adapted? How is Bülent involved in that?
BC It’s not just that I’m co-writing it; the whole play is designed around me. I host the whole thing whilst simultaneously playing Bassa Selim, a speaking role.
AM Actually, the text for this character is brand new. It was written together with Bülent and my dramaturg, Michael Höppner. We don’t touch the song lyrics. A completely new format has emerged: a comedian hosts what happens on stage. Mozart plays a crucial role here if you want to place the piece in its historical context. Back then, the aim was to make fun of the Turks, who had already besieged Vienna twice; but that is only one side of the story. Mozart was in the service of the enlightened monarch Joseph II, who issued the so-called Patent of Toleration, which concerns religious freedom. Yet this very same Joseph plans to push the Turks back beyond the Bosphorus. Through Bassa Selim – a Habsburg dressed in Ottoman costume – Mozart subtly presents him with a call for moderation, generosity towards enemies and tolerance, which implies far more than only religious freedom. Bülent very much follows this Enlightenment tradition. He plays just as much with prejudices, makes people laugh, holds up a mirror to them and makes demands.
BB How does the play change as a result of this “expanded role” of Bülent as both commentator and presenter?
AM It really is a play full of verbal missteps, both regarding the portrayal of women and the portrayal of Turks. Through Bülent, I am able to make fun of all this and, for example, show Europeans their own racism. For me, this creates a space to explore things that can no longer really be presented in this way, but which are far from resolved and still need to be addressed. Through the dynamic with Bülent, I can juggle all these elements at once and keep them in the air. Through his moderation, the clashes between characters and their brutal views, created by Mozart and his librettist, can be brought to light once more.
BB The piece also contains problematic images of the Orient. How do you deal with that?
BC That is precisely what we wanted to address. There are terms that make one wonder today: “Is it still considered acceptable to say that?” I don’t just perform; I also comment on it. That’s how I build a bridge from the historical opera to the present day. For example: how do you view the relationship between Bassa Selim and Konstanze? From today’s perspective, it’s actually toxic: he keeps her captive whilst at the same time wanting to please her. It’s an intense scene, but one that can certainly be transposed to the present day. Some women still feel as though they’ve been kidnapped, even within a marriage. I slip in my own comments on this during the narration. Since I’m Bülent and people know my background, I can blend these identities perfectly. Even the ‘evil’ Bassa Selim comes across differently through my portrayal. As Bülent on stage, I also find myself wondering: “How did this Bassa Selim become the way he is? Was he perhaps quite sweet as a child? Why did he flee to Turkey? He was a Christian, after all, and is now a Muslim.” This is the reverse of the narrative we usually hear, and makes the subject more relevant than ever.
BB What is the biggest challenge for you in this project, and how would you know that it’s a success?
BC The fact that the audience will initially consist mainly of regular opera-goers is, for me, a challenge in itself. I’ll open in a way that lets me immediately gauge whether the audience is prepared to laugh at something like this. As soon as the first laugh comes, I’ll know the ice has been broken.
AM Ultimately, the connection between Bülent and the show is one thing. We’ve worked incredibly hard on that. The other is the question of how it all fits together with the singers. But I’m not afraid of negative reactions, because opera often polarises, especially when you’re taking a strong stance and working in a very contemporary way. I’m actually looking forward to this cultural exchange, this “clash of civilisations”. It takes place not only on stage, but also between the audience and the main character who guides us through the evening. At the centre of it all is a world-class orchestra conducted by the outstanding Thomas Guggeis. Added to this is a spectacular lighting design and many references to Bülent’s show. Sometimes even I feel dizzy with all the different layers. It’s like solving a massive maths problem. If it works, this format could be groundbreaking for bringing opera to new audiences. It’s a truly modern way of telling a classic story.
BB You’ll probably bring Bülent’s own audience to the opera?
AM We certainly hope so!
BC Many in my audience have already told me they’d love to come. When Pavarotti was performing, he reached people from all walks of life. He became the pop star of the opera world. I want to show that this music can touch anyone, no matter where they come from.
AM I want opera to have an impact on people’s lives. In my view and practice, it is an art form that speaks to the whole of society and, when well-staged, offers powerful stories and profound emotions. The fact that Bülent is now commenting on the whole thing, I couldn’t imagine a better fit.
BB There’s an anecdote that Mozart allegedly sat incognito in the audience at a performance of The Abduction from the Seraglio and intervened. If Mozart were sitting in the theatre at your production today, what do you think he would make of it?
BC I think he’d find the commentary amusing. I think he’d have liked it, because in his own way, he made fun of the Turks. Of course, we have to view that differently today, but in his day, that’s exactly what he did. And the orchestra, that has to be perfect.
CREDITS
Fotografie: ANTON RÖNTZ
Creative Production: HANNES AECHTER, JOHANNA ERDL
Hair & Makeup: SYDNEY RAAB
Fotografie-Assistent: TILL MILIUS
Set Assistant AMINA ZEROUROU