Ah, I see what you mean!Jude wrote: The music that introduces the aria is fabulous, and I love to hear the aria done in recital or concert. In the context, it always gives the producer a big challenge on what to have going on during the intro - often they resort to "stage business"
And pity the actor that plays Bassa Selim - not only does he have to stand through the two-minute intro, he also has to stand through the then-minute aria that follows!
Yes, you hit on something that's driving me crazy about modern producers!
The way I picture the ideal production of the scene is that people do just stand during the scene! There may be mimic and gestures, perhaps even a few movements, taking a step towards someone or back, to show reaction, but yes, mainly it's static. I don't have a problem with this. The action is in the music. People are supposed to listen!
But, of course, that's what producers are totally incapable of! We need ACTION!
You get that a lot these days. Sometimes there's even action on stage during the ouverture! Because you can't expect people to just sit and listen with nothing to look at for ten whole minutes, can you?
And, of course, all arias are buried in a bustle of activity, successfully preventing the audience from any close listening!
*sigh* And as if that wasn't bad enough, you often get action that's the complete opposite of the action or feeling described in the text of the scene!
[/rant]
(With respect to the Bassa standing around: people are supposed to focus on Constanze, and in an aria like that, you'd have your attention glued to her anyway! It should be easy for the actor of the Bassa to melt into the background, except for showing the occasional reaction to Constanze's words.)
As to the demands on the singer: I've never had the impression in listening to it on stage that it was too much on the singer's power, although they are two tough pieces. Mozart took care to adapt his writing to the skills of his singers, and the original singer was a famous virtuoso and therefore maybe better suited to the role than many others who are given the part. Still, isn't a more difficult part also more fun?
There is some dialogue in between the arias, too. (In full, I'd say it makes five minutes of speaking - in a live-recording I have it is cut to only a few lines between Constanze and the Bassa (unless the text was only cut after the recording).)
And of course there's a two minute intro to the next aria, to give the singer a breather!
So, thanks for pointing this out: I think here we have another two reasons why the intro is essential: give the singer time to prepare and set the new tone! This is a big change in the mood from one piece of music to the next, it might have been odd to have the same person who just before lamented her misfortune in the softest, sweetest notes suddenly burst out into heroics - the intro prepares us for something big to come!
So, there are technical as well as dramatic reasons for having the intro!
I'll admit that it is unusual, however, to give two big arias in a row to a singer! Some jealousy from the other roles must have been programmed! But then, Mme Cavalieri was the Star!
- oriental pieces whose moral point at the end was clemency of the ruler were very popular at the time! A subject which I'm sentimental enough to find very appealing! 
) )
(except you and me, apparently! 
LOL, I didn't recognise him ( 
), and found myself wondering that this oldish guy got all the tempi and the energy so right! When it said Solti in the end titles, that explained it! The guy sure had pepper in his blood (as we say here about the Hungarians). 
