With its libretto about two Western women’s capture and enslavement in the “exotic” East, Mozart’s Abduction from the Seraglio is understandably not often performed these days.

Rather than deny audiences the pleasure of his music, however, Victorian Opera offers a clever adaptation that removes the opera’s offensive elements while retaining its danger and desire. Simply called Abduction, this fresh, contemporary take also elevates the theme of self-discovery.

It’s interpreted by an excellent Australian cast, including two nipping home from European careers, in a production with a sumptuous, sexy design that belies its tight budget.

Luke Stoker and chorus in Victorian Opera’s Abduction. Photo © Jeff Busby

Director Constantine Costi has overhauled the spoken parts of Mozart’s Singspiel (sung-spoken) opera, so that friends Konstanze and Blonde merely slip away from their nice but boring fiancés, Belmonte and Pedrillo.

They enter the notorious mansion of The Pasha, whose hedonistic parties verge on cult-like admiration for the host. While Belmonte and Pedrillo bumble through a “rescue” attempt, Konstanze is both wooed and philosophically challenged by The Pasha, and Blonde flirts with his right-hand-man, Osmin.

When the four lovers are reunited, the mood turns dangerous, and they must confront what it means to be loyal and to love.

While the dialogue is in English the sung parts are in the original German. Some music has been cut (including “Turkish” pastiche), while snippets of Mozart choral works have been added to bolster the chorus’s contribution.

All up, this very accessible adaptation clocks in at just 135 minutes including interval.

Cleo Lee-McGowan in Victorian Opera’s Abduction. Photo © Jeff Busby

Premiering in Vienna in 1782, Abduction from the Seraglio was written for some of the greatest voices of the age, especially the roles of Konstanze and Belmonte which demand exceptional talent and coloratura technique.

So it’s hardly surprising if soprano Cleo Lee-McGowan’s top notes sound a little sharp in Konstanze’s arias, and tenor Kyle Stegall’s physical and mental effort is apparent for a while during Belmonte’s showstopper.

Europe-based Lee-McGowan otherwise sings beautifully, with agile runs and sparkling high notes, all the while making Konstanze an appealing soul-searcher.

American-born, Adelaide-based Stegall displays pleasing tone, sensitive expression and an aptitude for comedy – as does Douglas Kelly as Pedrillo. They make an amusing double act.

Apart from slight strain in a particularly demanding passage, Kelly’s tenor is sweet and supple, while soprano Katherine Allen’s Blonde is a pert, prettily sung interpretation.

Katherine Allen and Cleo Lee-McGowan in Victorian Opera’s Abduction. Photo © Jeff Busby

Also based in Europe, Luke Stoker is a revelation as Osmin. With a bass that’s clear, warm, flexible and expressive, he makes Mozart’s vocal demands seem easy – including notes in his Act II aria so astonishingly low they almost disappear off the chart of human hearing.

Stoker’s comic interpretation of the mean then lovesick Osmin also shows he’s a confident actor.

Speaking of which, Lyndon Watts oozes enigmatic sexual energy as The Pasha (a non-singing role, so sadly there’s none of the lovely tenor he displayed in Hamilton and Victorian Opera’s 2024 Candide). Watts is Abduction’s dramatic sun, holding everything in orbit.

The substantial chorus sing handsomely while, in many cases, also upping the drama as The Pasha’s primary acolytes and servants.

Under the baton of Chad Kelly, Orchestra Victoria is well balanced and sounds bright or luxurious as Mozart’s rich score demands.

Abduction’s aural delights are matched by Nathan Burmeister and Matilda Woodroofe’s co-designs for set and costumes. They make the Palais’s large stage a sensual sea of scarlet, especially with swathes of velvet and the ruched satin framing heart-shaped areas of negative space.

A grand staircase and modest mezzanine enhances the visual and actual drama, while numerous practical and decorative props, including gilded mobile mirrors and a chaise longue, create a sense of Baroque excess.

As do the eclectic costumes, which are dominated by sparkly fabrics and satin – together in The Pasha’s eye-popping ensemble.

Paul Jackson’s gorgeous lighting largely veils the budgetary constraints of Burmeister and Woodroofe’s design.

This is a bold and beautifully staged adaptation of a Mozart classic, which shows how operas with elements well past their use-by date need not be dumped on history’s rubbish heap in their entirety.

Unfortunately Abduction’s season is very short, so get in quick to hear Mozart’s timeless music performed by some of Australia’s finest young singers.

Victorian Opera presents Abduction at the Palais Theatre, St Kilda, until 16 August.