Laura Aikin - Mozart: ABDUCTION FROM THE SERAGLIO, Martern aller arten (orig. version), 2001

THE SONGBIRD: American coloratura soprano Laura Aikin was born in Buffalo, studied music, then relocated to Berlin where she studied with Reri Grist. Aikin launched her career in 1991 in Berlin and has based her career there singing a wide variety of leading high soprano roles in the major European houses and festivals -- including Berlin, Munich, Vienna, Salzburg, Brussels, Paris, Dresden, Zurich, Naples, Florence, La Scala, and Barcelona. In the United States, she has sung at The Met (Queen of the Night, Fiakermilli, and Sophie); San Francisco Opera (Anne Truelove, The Angel in "Saint François d'Assise"), Chicago Lyric Opera (Zerbinetta), and Santa Fe Opera (Aspasia), among others.
THE MUSIC: Mozart's opera "Die Entführung aus dem Serail" (which I refer to in its English translation) premiered in Vienna in 1782, with Mozart himself conducting. It is considered the best work of the German "Singspiel" format: an opera with spoken dialogue between musical set pieces instead of musical recitatives. The opera contains two roles for high soprano: Konstanze, the leading role and a lyric/dramatic coloratura, and Blonde, a soubrette. Konstanze was written for one of Vienna's star sopranos, Caterina Cavalieri, and has three solo arias, a long duet, and a few ensembles. Her third aria is the monumental "Martern aller arten," universally acknowledged as one of the most challenging arias in the coloratura soprano repertoire. It's long and it's elaborate, with relentless fiery coloratura meant to convey Konstanze's determination to defy the will of her captor, the Pasha Selim, and to plead for her release. The version sung here is the original, slightly longer version of the aria with several measures restored. This section of music beginning at measure 160 in the Neue Mozart-Ausgabe score (which starts at 03:45 in this video) was marked by Mozart in his original score to be temporarily trimmed for the opera's premiere (thanks to viewer Jason Hurd for that information).

[@operaanimelover369]

Laura Aikin's technique and vocal prowess are unparalleled.

[@SilfredoSerrano]

Before going to Berlin she studied at Indiana University where she studied with Margaret Harshaw

[@jasonhurd4379]

A worthy performance by Miss Aikin. I had no idea she was a Grist student! Quite an honorable pedigree! However, at the risk of sounding pedantic (which my friends tell me I usually do 😢), I feel bound to point out that this is still not the full original version. At 8:29 there should be a repeat of the section 'zuletzt befreit mich doch der Tod.' I actually prefer this cut not be opened, since it repeats uninteresting material to no good effect; I mention it merely for accuracy's sake. Thank you for all your hard work! I enjoyed 'Zerbinetta-month', particularly Elizabeth Harwood, whose rendition of the 1912 aria I had always wanted to hear. Such an underrated singer. At her lessons with Lina Pagliughi, she used the Queen of Night arias as warm-up exercises! 😮

[@songbirdwatcher]

Thanks for tracking the edits on this aria. I was aware that sopranos sang versions of this piece, but never realized how many "vi-de" bits there were!

[@jasonhurd4379]

@@songbirdwatcher I have always been surprised that Mozart made no cuts in Ach ich liebte. Maybe Cavalieri wanted to make a good first impression on the audience with her top register. It's also roughly half the length of Martern, which of course comes directly after Traurigkeit. Cheers!