“Amadeus” Shaffer in brief

The action takes place in Vienna in November 1823, and the memories of Salieri refer to the decade 1781-1791.

On the proscenium in the wheelchair the old man sits with his back to the audience. Citizens of Vienna repeat each other the latest gossip: Salieri the murderer! Their whispers are growing louder. It’s been thirty-two years since Mozart’s death, why did Salieri talk about it right now? No one believes Salieri: he is already old and, surely, he has lost his mind. Salieri gets up from the chair, looks into the auditorium. He calls on distant descendants to become his confessors. He tells that he has been a sweetheart all his life, and asks not to judge him for it too severely. In addition, he dreamed of glory. He wanted to become famous when composing music. Music is a gift from God, and Salieri prayed to God to make him a great composer, and in return promised to lead a righteous life, to help his fellow men and to praise the Lord in his creations until the

end of his days. God heard his plea, and the next day a friend of their family drove the young Salieri to Vienna and paid for his music lessons. Soon, Salieri was introduced to the emperor, and His Majesty favorably treated the gifted youth. Salieri was pleased that his deal with God had taken place. But in the same year, when Salieri left Italy, ten-year-old genius Wolfgang Amadeus Mozart appeared in Europe. Salieri offers the public to watch a play called “Death of Mozart, or I’m to blame.” This is his last work, dedicated to distant descendants. Salieri throws off her old robe, straightens up and appears before us as a young man in the costume of the eighties of the eighteenth century. The string quartet of Salieri sounds. that his deal with God had taken place. But in the same year, when Salieri left Italy, ten-year-old genius Wolfgang Amadeus Mozart appeared in Europe. Salieri offers the public to watch a play called “Death of Mozart, or I’m to blame.” This is his last work, dedicated to distant descendants. Salieri throws off her old robe, straightens up and appears before us as a young man in the costume of the eighties of the eighteenth century. The string quartet of Salieri sounds. that his deal with God had taken place. But in the same year, when Salieri left Italy, ten-year-old genius Wolfgang Amadeus Mozart appeared in Europe. Salieri offers the public to watch a play called “Death of Mozart, or I’m to blame.” This is his last work, dedicated to distant descendants. Salieri throws off her old robe, straightens up and appears before us as a young man in the costume of the eighties of the eighteenth century. The string quartet of Salieri sounds. straightens up and appears before us as a young man in the dress suit of the eighties of the eighteenth century. The string quartet of Salieri sounds. straightens up and appears before us as a young man in the dress suit of the eighties of the eighteenth century. The string quartet of Salieri sounds.

1781 Salieri is thirty-one years old, he is a well-known composer, he is known at court. He is in love with his disciple Catarina Cavalieri, but remains faithful to his wife, mindful of the vow that God has given him. Salieri dreams of becoming an Ober-Kapellmeister. Unexpectedly, he learns that Mozart comes to Vienna. Director of the Imperial Opera Count Orsini-Rosenberg receives orders to order Mozart comic opera in German – the emperor wants to create a national opera. Salieri is alarmed: it seems that the dominance of Italian music comes to an end. Salieri wants to see Mozart. At the evening at Baroness Waldstaten, he goes to the library to eat sweets, but Constance Weber, representing the mouse, suddenly runs in, and Mozart, representing the cat, follows her. Not noticing Salieri, Mozart knocks Constantia on the floor, rudely jokes with her and, even making her an offer, can not refrain from obscene gestures and words. Salieri is shocked by the vulgarity of Mozart. But when the concert begins and Salieri hears his music, he realizes that Mozart is a genius. It seems to him that in Mozart’s Serenade he hears the voice of God. Salieri plunges into the work, imploring the Lord to instill in him his voice. He jealously follows Mozart’s successes, but six sonatas composed in Munich, and the Paris symphony, and the Great Lithania in E flat leave him indifferent. He rejoices that the serenade was a happy fortune that could fall to the lot of any musician. In the Schönbrunn Palace, Salieri asks Emperor Joseph II to play a welcome march in honor of Mozart. Sounds like a march. The emperor represents musicians to each other. Mozart says that he has already written the first act of the commissioned comic opera. Its action takes place in the seraglio, but the opera about love and there is nothing obscene in it. The main party will be sung by Katharina Cavalieri, Salieri’s favorite student. Mozart thanks Salieri for the welcome march and repeats it for memory, then plays with variations, gradually groping for the theme of the famous march from “The Marriage of Figaro” – “The boy is frisky, curly, in love.” He rejoices at his improvisation, completely oblivious to what insult Salieri is causing. Salieri wants to write a tragic opera and shame Mozart. “Abduction from the Seraglio” does not make a great impression on Salieri. Hearing the singing of Catarina, he immediately guessed that Mozart had engaged in an affair with her, and was suffering from jealousy. The emperor applauds with restraint: in his opinion, there are “too many notes” in this opera. Mozart objects: the notes are as much as they need – exactly seven, no more and no less. Mozart represents Salieri, whom he considers a friend, his fiancée – Constantius Weber. Salieri wants revenge on Mozart for seducing Katharina and taking Constance from him.

Mozart marries Constance, but he lives it hard: Mozart’s pupils are few, and he has made many enemies with his intractability. He openly opposes the dominance of Italian music, scolds the last opera Salieri “Chimney sweep,” calls the emperor a kaiser-squire, roughly jokes over the courtiers who can be useful to him. Princess Elizabeth needs a music teacher, but no one wants to impress Mozart. Having met Salieri at a ball at Baroness Waldstaten, Constance asks him to help Mozart get the desired place. Salieri invites her to her place to talk. He also wants to see Mozart’s score to make sure of his talent. When Constance secretly comes from her husband, Salieri declares that he is ready to put in a word for Mozart in exchange for her favor. Constance leaves. Salieri understands his meanness, but blames Mozart for everything: it was Mozart who brought the “noble Salieri” to such heinousness. He plunges into reading the scores. The 29th symphony in A major is heard. Salieri sees that Mozart’s rough sketches are completely clean, almost without blots: Mozart simply records the music that sounds in his head, in an already finished, perfect form. The theme “Kegue” from the Mass in C minor is heard louder and louder. Salieri is smitten. He rebels against God, whose favorite – Amadei – is Mozart. Why is Mozart so honored? Salieri’s only reward for a righteous life and hard work is that he alone sees clearly in Mozart the incarnation of God. Salieri challenges God, henceforth he will fight with all his strength, and Mozart will become a battlefield for them. He plunges into reading the scores. The 29th symphony in A major is heard. Salieri sees that Mozart’s rough sketches are completely clean, almost without blots: Mozart simply records the music that sounds in his head, in an already finished, perfect form. The theme “Kegue” from the Mass in C minor is heard louder and louder. Salieri is smitten. He rebels against God, whose favorite – Amadei – is Mozart. Why is Mozart so honored? Salieri’s only reward for a righteous life and hard work is that he alone sees clearly in Mozart the incarnation of God. Salieri challenges God, henceforth he will fight with all his strength, and Mozart will become a battlefield for them. He plunges into reading the scores. The 29th symphony in A major is heard. Salieri sees that Mozart’s rough sketches are completely clean, almost without blots: Mozart simply records the music that sounds in his head, in an already finished, perfect form. The theme “Kegue” from the Mass in C minor is heard louder and louder. Salieri is smitten. He rebels against God, whose favorite – Amadei – is Mozart. Why is Mozart so honored? Salieri’s only reward for a righteous life and hard work is that he alone sees clearly in Mozart the incarnation of God. Salieri challenges God, henceforth he will fight with all his strength, and Mozart will become a battlefield for them. perfect form. The theme “Kegue” from the Mass in C minor is heard louder and louder. Salieri is smitten. He rebels against God, whose favorite – Amadei – is Mozart. Why is Mozart so honored? Salieri’s only reward for a righteous life and hard work is that he alone sees clearly in Mozart the incarnation of God. Salieri challenges God, henceforth he will fight with all his strength, and Mozart will become a battlefield for them. perfect form. The theme “Kegue” from the Mass in C minor is heard louder and louder. Salieri is smitten. He rebels against God, whose favorite – Amadei – is Mozart. Why is Mozart so honored? Salieri’s only reward for a righteous life and hard work is that he alone sees clearly in Mozart the incarnation of God. Salieri challenges God, henceforth he will fight with all his strength, and Mozart will become a battlefield for them.

Unexpectedly, Constance returns. She is ready to surrender to Salieri, but he does not give vent to his lust: after all, he fights not with Mozart, but with the Lord God, who loved him so much. The next day Salieri seduces Catarina Cavalieri, thus violating the vow of chastity. Then he goes out of all the charitable committees, breaking his oath to help his neighbors. He recommends the emperor as a music teacher for Princess Elizabeth a very mediocre musician. On the emperor’s question about Mozart, Salieri responds that Mozart’s immorality is such that he can not be allowed to go close to young girls. The simple-minded Mozart does not suspect Salieri’s machinations and continues to consider him his friend. The affairs of Salieri go uphill: in 1784 and in 1785. the public loves him more than Mozart, although it was during these years that Mozart wrote his best piano concerts and string quartets. The public applauds Mozart, but immediately forgets his music, and only Salieri and a few other initiates know the true value of his creations.

Meanwhile, Salieri’s operas are staged everywhere and are liked by everyone: both “Semiramis” and “Danaids” have gained noisy success. Mozart writes “The Wedding of Figaro.” Baron van Sweeten, prefect of the Imperial Library, is shocked by the vulgarity of the plot: the opera must elevate and perpetuate the feats of the gods and heroes. Mozart explains to him that he wants to write about real people and about the events of real life. He wants the linen in the bedroom on the floor, the sheets keep the warmth of the female body, and under the bed there was a nocturnal pot. He says that all the serious operas of the 18th century. terribly boring. He wants to merge the voices of his contemporaries and turn them to God. He is sure that the Lord hears the world: millions of sounds arising on the earth, rises to him and, merging in his ears, become music unknown to us. Before the premiere of “The Weddings of Figaro” director of the Imperial Opera Count Orsini-Rosenberg, looking at the score, tells Mozart that the emperor forbade the use of opera ballet. Mozart argues: the emperor banned insertion ballets, like the French, and not dances, which are important for the development of the plot. Rosenberg tears out sheets with dances from the score. Mozart in a rage: two days later the premier, and against him arranged a conspiracy. He scolds the courtiers with his last words. He wants to invite the emperor himself to the rehearsal. Salieri promises to help him, but does nothing. And yet the emperor comes to the rehearsal. Mozart, thinking that this is the merit of Salieri, expresses his gratitude to him. During the performance, the dances are performed without musical accompaniment. The Emperor is at a loss. Mozart explains what is the matter, and the emperor orders to restore the music. The premiere of the opera “

Mozart receives news of his father’s death and reproaches himself for his disrespectful attitude towards him, Salieri explains to the audience that this is how the vindictive ghost of his father appeared in the opera “Don Giovanni”. Salieri decides to resort to the last resort: to kill Mozart with hunger, to cast out the divine from his flesh by hunger. He advises the emperor, who decided after Gluck’s death to give Mozart the place of the royal and imperial chamber musician, to pay him ten times less than Gluck received. Mozart is offended: for such a salary and a mouse can not feed. Mozart receives a proposal to write an opera for ordinary Germans. He comes up with the idea of ​​reflecting in the popular music the ideals of the Masons. Salieri says it would be nice to show the Masons themselves on stage. Mozart understands that this is impossible: their rituals are kept secret, but he thinks, that if they are changed a little, this can serve as a preaching of brotherly love. Salieri approves of his plan, knowing full well that this will cause the wrath of the Freemasons.

Mozart lives in poverty. He often imagines a ghost in gray. Constance believes that he is not himself, and leaves. Mozart tells Salieri that a masked man came to him, like two drops like a ghost from his nightmares, and ordered him a Requiem. Mozart finished work on “The Magic Flute” and invites Salieri to the premiere of a modest country theater, where there will be none of the courtiers. Salieri is shocked by the music. Public applauds, but through the crowd to the composer sneaks van Sweeten, he accuses Mozart of the fact that he betrayed the Order. Henceforth, Freemasons refuse to take part in Mozart, influential people stop with him, Shikaneder, who ordered the “Magic Flute”, does not pay his share from the fees. Mozart works as an obsessive, waiting for the arrival of a man in a mask, who ordered him Requiem. Salieri admits to the audience, that I got a gray cloak and a mask and every night passes under the windows of Mozart to announce the approach of his death. On the last day, Salieri extends his hands to him and calls for him like a ghost from his dreams. Mozart, having collected the rest of his strength, opens the window and pronounces the words of the hero of the opera “Don Giovanni”, inviting the statue to dinner. Sounds a passage from the overture to the opera “Don Giovanni”. Salieri climbs the stairs and enters Mozart. Mozart says that he has not finished the Requiem and on his knees asks to extend the term for a month. Salieri tears off the mask and drops the cloak. Mozart shrieks with a piercing laugh in an attack of overwhelming horror. But after the mistake comes insight: he suddenly realizes that in all his misfortunes, Salieri is to blame. On the last day, Salieri extends his hands to him and calls for him like a ghost from his dreams. Mozart, having collected the rest of his strength, opens the window and pronounces the words of the hero of the opera “Don Giovanni”, inviting the statue to dinner. Sounds a passage from the overture to the opera “Don Giovanni”. Salieri climbs the stairs and enters Mozart. Mozart says that he has not finished the Requiem and on his knees asks to extend the term for a month. Salieri tears off the mask and drops the cloak. Mozart shrieks with a piercing laugh in an attack of overwhelming horror. But after the mistake comes insight: he suddenly realizes that in all his misfortunes, Salieri is to blame. On the last day, Salieri extends his hands to him and calls for him like a ghost from his dreams. Mozart, having collected the rest of his strength, opens the window and pronounces the words of the hero of the opera “Don Giovanni”, inviting the statue to dinner. Sounds a passage from the overture to the opera “Don Giovanni”. Salieri climbs the stairs and enters Mozart. Mozart says that he has not finished the Requiem and on his knees asks to extend the term for a month. Salieri tears off the mask and drops the cloak. Mozart shrieks with a piercing laugh in an attack of overwhelming horror. But after the mistake comes insight: he suddenly realizes that in all his misfortunes, Salieri is to blame. Sounds a passage from the overture to the opera “Don Giovanni”. Salieri climbs the stairs and enters Mozart. Mozart says that he has not finished the Requiem and on his knees asks to extend the term for a month. Salieri tears off the mask and drops the cloak. Mozart shrieks with a piercing laugh in an attack of overwhelming horror. But after the mistake comes insight: he suddenly realizes that in all his misfortunes, Salieri is to blame. Sounds a passage from the overture to the opera “Don Giovanni”. Salieri climbs the stairs and enters Mozart. Mozart says that he has not finished the Requiem and on his knees asks to extend the term for a month. Salieri tears off the mask and drops the cloak. Mozart shrieks with a piercing laugh in an attack of overwhelming horror. But after the mistake comes insight: he suddenly realizes that in all his misfortunes, Salieri is to blame.

Salieri confesses to his atrocities. He calls himself Mozart’s killer. He explains to the audience that the confession so easily fell from his tongue because it was true: he really poisoned Mozart, but not with arsenic, but everything that the audience saw here. Salieri leaves, Constance returns. She puts Mozart in bed, hides a shawl, tries to calm her. Sounds the seventh part of Requiem – “Lacrimosa”. Constance talks to Mozart and suddenly realizes that he is dead. The music stops. Salieri says that Mozart was buried in a common grave, with twenty other dead. Then it turned out that the man in the mask, who ordered Mozart’s Requiem, did not see the composer. This was the valet of a Count Valzeg, who secretly ordered Mozart an essay, then to extradite him for his. After Mozart’s death, Requiem was performed as the work of Count Valzeg, and Salieri was a conductor. Only many years later, Salieri realized what the Lord’s punishment was. Salieri enjoyed universal respect and bathed in the rays of glory – and all this thanks to works that were not worth a penny. For thirty years he listened to praise from the lips of people who knew nothing about music. And finally, Mozart’s music was appreciated, and his music was completely forgotten.

Salieri again puts on an old robe and sits in a wheelchair. 1823 Salieri can not reconcile with obscurity. He himself spreads a rumor that he killed Mozart. The more louder the glory of Mozart, the stronger will be his disgrace, thus, Salieri still obtain immortality and the Lord can not prevent it. Salieri is trying to commit suicide, but unsuccessfully. In a notebook where visitors write to the deaf Beethoven about the news, there is a note: “Salieri is completely insane, he continues to insist that it is to blame for Mozart’s death and that it was he who poisoned him.” The newspaper “German music news” in May 1825 also reports the madness of the old Salieri, who blames himself for Mozart’s early death, which no one believes.

Salieri rises from the chair and, looking into the auditorium, lets go of the sins of the mediocrities of all times and peoples. The last four bars of Mozart’s funeral march sound.