History Theatre / TheAbductionFromTheSeraglio

* PromotedToLoveInterest: In the Christof Loy production, Blondie is shown to have some feelings for Osmin, and instead of making fun of him she is mostly sad and angry, since she sees the two of them aren't going to work out due to a massive CultureClash.

In the backstory, Konstanze and her servants, BetaCouple Pedrillo and Blondie, are taken captive by pirates. However, they are bought by Selim, a Turkish pasha, who brings them to the luxury of his palace... and soon falls in love with Konstanze. An attempt by Konstanze's beloved Belmonte to rescue the group from the pasha's seraglio is foiled, and on top of it all Belmonte turns out to be the son of Selim's bitterest enemy, so Selim prepares to execute him and the rest of the heroes. Ultimately, though, he has a change of heart and instead lets them go, and the final chorus has everyone praise his generosity.

* BlamingTheVictim: Pedrillo is jealous and suspicious of Blondie because he thinks Osmin might have raped her. Blondie slaps him when he says it, tells him he's not worthy of her, and only forgives him after long and profound apologies.

* DefiantCaptive: Blondie utterly refuses to obey Osmin and bosses ''him'' around instead.

* EyeScream: Blondie tells Osmin that if he tries to assault her again, she'll scratch out his eyes.

* GreenEyedMonster: Not only do Pasha and Osmin guard Konstanze and Blondie, respectively, with extreme jealousy, but Belmonte and Pedrillo are suspicious about the ladies' fidelity as well. Konstanze and Blondie are understandably angry.

* RedOniBlueOni: The female leads are fiery, cheerful Blondie and melancholy Konstanze.

** The Christof Loy production takes it up to eleven by having the syndrome affect not just Konstanze, but her fiery maid Blondie (who usually is too busy playing pranks on her captor Osmin to consider developing any tender feelings towards him). Konstanze shares a passionate kiss with Selim and barely restrains herself from continuing it. Blondie lectures Osmin on feminism, as usual, but her expressions and body language show that she is clearly attracted to him (for instance, she sits on his lap herself and giggles happily when he caresses her), and rather than making fun of him as she usually does, she grows angry and sad that he can’t understand women value their freedom.

* EpicInstrumentalOpener: The aria "Martern Aller Arten" has almost two ''minutes'' of fanfare and concertante-style orchestral solos before Konstanze starts singing. This can sometimes presents a problem for directors to figure out what to do in this lead in terms of action on stage while waiting for the vocals to begin.

* EpicInstrumentalOpener: The aria "Martern Aller Arten" has almost two ''minutes'' of fanfare and concertante-style orchestral solos before Konstanze starts singing. This sometimes presents a problem for stage managers to figure out what to do in this lead in.

* MelismaticVocals: [[https://www.youtube.com/watch?v=DwQYXRRkvFk "Martern aller Arten"]] -- described (rather unfavourably)by Salieri in ''{{Theatre/Amadeus}}'' as "ten minutes of ghastly scales and arpeggios, whizzing up and down like fireworks at a fairground".

* EpicInstrumentalOpener: The aria "Martern Aller Arten" from ''The Abduction from the Seraglio'' has almost two ''minutes'' of fanfare and concertante-style orchestral solos before Konstanze starts singing.