Amadeus

In darkness, “savage whispers fill the theatre” (9). Antonio Salieri, an old man, sits in a wheelchair and the whisperers, the citizens of Vienna, hiss his name. The two Venticelli, “purveyors of fact, rumour, and gossip throughout the play” (9) enter and talk about Salieri, the famous musician who has been reclusive for 32 years, reportedly raving to himself. The gossip reaches a fever pitch and Salieri cries out, “MOZART!!!” (11). The whispers begin again, revealing that Salieri’s hermitage began when Mozart died. Some accused Salieri of poisoning Mozart. They whisper urgently, speculating about whether Salieri is guilty or if Mozart died of syphilis. The whisperers exit, leaving Salieri alone with his valet and cook. The scene takes place in Salieri’s apartments, in the early morning hours of November 1823. Salieri comments on the constant gossip and pleads for a confessor in “the last hour of [his] life” (14) and sends his two servants away because he does not plan to sleep.

Salieri sings an invocation to call forth the “Ghosts of the distant Future” (14), since that is how ghosts are summoned in operas. Satisfied that his invocation has been successful, Salieri is hungry and admits, “[T]he first sin I have to confess to you is Gluttony” (15). He talks about his life, becoming young as he sets the scene in 1781, describing, “I am thirty-one. Already a prolific composer to the Hapsburg Court. I own a respectable house and a respectable wife—Teresa” (18). Teresa enters, but her role is mute. Salieri indicates that he had “a prize pupil: Katherina Cavalieri” (18) who also enters. Katherina’s role is also mute, but she mimes singing as the recording of a soprano plays in the background. Salieri confesses that he was in love with Katherina, but because of his “vow to God” (18), remained faithful to his wife. Salieri introduces the accompanist, Giuseppe Bonno, who is “seventy years old, and apparently immortal” (18). Salieri explains that musicians were considered “no better than servants” (18) in the 18th century. However, as servants, they made mediocre men seem legendary through their music.

Salieri claims, “I was the most successful young musician in the city of musicians” (19) before the emergence of Wolfgang Amadeus Mozart. The two Venticelli gossip about Mozart’s musical genius, even as a child. The scene shifts to the Palace of Schönbrunn, where Johann Killian Von Strack, the royal chamberlain, relays a message to Count Orsini-Rosenberg and Baron Van Swieten that the emperor has directed them to commission a comic opera in German from Mozart. To the audience, Salieri admits that he was worried about bringing Mozart into the inner circle given how much overzealous praise he receives. The Venticelli explain that Mozart is renting a room and pursuing his landlady’s daughter Constanze, which the girl’s mother supports but Mozart’s father does not. Salieri declares that he wants to meet this prodigy and discovers that Mozart will be at the home of the Baroness Waldstädten’s home the next night. Salieri explains, “That night changed my life” (23).

The scene changes to Baroness Waldstädten’s library, where Salieri helps himself to the dessert table. He watches as Constanze runs in, pretending to be a mouse, chased by Mozart who is pretending to be a cat. They play and flirt, and Mozart makes vulgar jokes then suddenly Mozart asks Constanze to marry him. Before she can respond, the Major-Domo of the house enters and announces to Mozart, “Her Ladyship is ready to commence” (26). Mozart and Constanze “prance off together” (26), and the music begins in the next room. Salieri listens in awe, crying out that the music makes him feel profound emotional pain, exclaiming, “I was suddenly frightened. It seemed to me I had heard a voice of God—and that it issued from a creature whose own voice I had also heard—and it was the voice of an obscene child” (27). Back in his apartments, Salieri remembers, “I ran home and buried my fear in work” (27). He explains that he took on more students, joined more committees, and prayed. Additionally, Salieri says that avoided Mozart while reaching out to procure copies of his music. Salieri satisfies himself when he determines that none of Mozart’s other works are as profound and decides to “seek him out and welcome him myself to Vienna!” (28).

At the Palace of Schönbrunn, the Emperor Joseph appears and Van Swieten and Orsini-Rosenberg rush in. Mozart has arrived and is waiting to play. Salieri offers to play a composition that he has written to honor Mozart, and the Emperor agrees. Emperor Joseph suggests a musical competition between Mozart and “some other virtuoso,” but Van Swieten replies, “In my view, musicians are not horses to be run against one another” (29). Salieri plays his march, “an extremely banal piece, vaguely—but only vaguely—reminiscent of another march to become very famous later on” (29) as Mozart enters. Emperor Joseph remembers meeting Mozart as a small child. The Emperor introduces Mozart to Salieri, exclaiming, “No one who cares for art can afford not to know Herr Salieri” (30). They discuss the Emperor’s commission for a comic opera in German from Mozart. Orsini-Rosenberg is a bit scandalized to discover that Mozart is writing a bawdy opera set in a harem. Anxiously, Mozart reassures everyone that the opera will be appropriate for the National Theatre and “full of proper German virtues” (32). Salieri asks Mozart to name a German virtue, and the Emperor prods him to respond. Mozart replies, “Love, Sire. I have yet to see that expressed in any opera,” adding, “I mean manly love, Signore. Not male sopranos screeching. Or stupid couples rolling their eyes. All that absurd Italian rubbish” (32).

There is a tense moment before the conversation continues and they are impressed to learn that although he has only been working on the opera for two weeks, Mozart has already composed the first act. In a rush of French, Mozart expresses his appreciation that he has been welcomed into the house of the emperor who is such a supportive patron of musicians. Emperor Joseph takes his leave, followed by Orsini-Rosenberg, Von Strack, and Van Swieten. Alone onstage, Salieri and Mozart continue to talk about the opera. Mozart reveals that he has selected Katherina Cavalieri to sing the lead. Salieri is distraught at the idea that Mozart might defile the woman he secretly loves. Mozart comments on the march Salieri wrote, then sits at the piano and plays it from memory. Then Mozart begins to improve on the composition, to Salieri’s distress. Rigid and polite, Salieri excuses himself and Mozart, oblivious, exits. To the audience, Salieri wonders if that was the moment he began to fantasize about murdering Mozart. Then Salieri decides that it wasn’t but was instead the moment that he decided to compose a masterpiece of a tragic opera.

The scene shifts to the first performance of The Abduction from the Seraglio, Mozart’s comic opera set in a harem. In the audience are the Emperor Joseph, Von Strack, Orsini-Rosenberg, Van Swieten, Kapellmeister Bonno, Salieri’s wife, Teresa, Constanze, and several citizens of Vienna. Wryly, Salieri criticizes Mozart and the opera. As he watches Katherina Cavalieri perform, Salieri concludes with dismay that Mozart has slept with her. After the finale, there is thunderous applause and a standing ovation as Mozart and Katherina bow. Constanze enters and throws herself at Mozart, who introduces her to the emperor as his fiancée. Emperor Joseph calls the opera “a good effort” and “interesting” (37). He can’t find the words to express his reservations, and Orsini-Rosenberg adds that it had “too many notes” (37). Mozart replies, “There are just as many notes, Majesty, neither more nor less, as are required” (37). Stiffly, the emperor exits, and Mozart worries that he offended him. Salieri reassures him, “He respects you for your views” (37). Salieri tells Mozart that the opera was “truly charming” at points and “a little excessive” (37) at others.

Mozart defends the piece, calling Katherina “an excessive girl. In fact she’s insatiable” (37). Salieri quotes his teacher, Chevalier Gluck, who said, “One must avoid music that smells of music” (37). In a vulgar diatribe, Mozart denounces Gluck and the pomposity of those who seek titles as Constanze tries to stop him. Mozart introduces Constanze and explains that they are engaged but do not have his father’s permission to marry. Salieri advises them to “marry and be happy” (39) regardless of Mozart’s father’s position. The Venticelli enter and gossip, explaining that the couple married and are poor but living extravagantly. Mozart teaches, but only has three students because he’s outspoken and “embarrassing” (39). Mozart “makes enemies” (40), including, recently, Chamberlain Von Strack. They shift to Kapellmeister Bonno’s house and the scene where this animosity was bred. Mozart is drunk, and the Venticelli refill his glass.

Mozart complains loudly that he cannot get work because foreigners are stealing jobs in Germany, naming Bonno and Salieri. Mozart calls Salieri’s latest work “dried dogshit” and refers to Salieri as “a musical idiot” (40) as Von Strack responds indignantly. Mozart criticizes Italian composers in general, and when Count Orsini-Rosenberg enters, he laughs while telling him that he looks like a toad. Unphased, Orsini-Rosenberg suggests that he go to bed. Mozart ignores him, complaining that Salieri has so many more students and insulting the emperor. Von Strack walks out. Orsini-Rosenberg urges Mozart to leave. Mozart begs Orsini-Rosenberg to help him get the job as music teacher to Princess Elizabeth, but Orsini-Rosenberg tells him that only Salieri can do that. Mozart leaves, exclaiming, “Do you know I am better than any musician in Vienna?” (42). Salieri admits that he would soon begin to consider revenge against Mozart.

At a New Year’s celebration in the Waldstädten Library, Constanze and the Venticelli are playing a party game. Salieri finds himself in the same place where he first heard Mozart’s music. The Venticelli begin to playfully molest Constanze as she laughs and protests. Mozart enters and admonishes his wife, accusing her of bringing him shame. Constanze retorts that Mozart has slept with every female student he’s had plus Katherina Cavalieri. They fight, Constanza begins to cry, and Mozart begs her to flog him for making her sad. This morphs into flirting and baby talk until Salieri, who they have not noticed, interrupts, annoyed. The couple is embarrassed, and Salieri suggests that Mozart fetch them both some sorbet. Mozart invites Salieri to play billiards, exclaiming that he is a better billiard player than a composer, but Salieri does not play. After Mozart exits, Constanze confesses that they are broke and Mozart desperately needs students. She begs Salieri to put in a good word for the job teaching the princess. Salieri tells Constanze to come and see him the next day behind Mozart’s back to discuss it, and she happily agrees.

The next day, Salieri waits for her, wondering if Constanze will show and if he will actually go through with seducing her. When she arrives, Constanze admits that she shouldn’t have, since Mozart is a jealous husband. She has brought copies of his compositions, originals with no copies. Salieri flirts and offers her candy. Constanze acquiesces at first, then asks Salieri about his wife. He reminds her that he has the power to secure the job with the princess for Mozart, and she gives in, kissing him. Salieri suggests that a kiss isn’t quite enough payment for such a sought-after position. Constanze insults him, arousing his anger and calling her a “silly, common girl!” (53). Coldly, Salieri agrees to look at the compositions she has brought to determine if Mozart “is mature enough” (53) to teach the princess. Constanze gives him the portfolio, hesitates for a moment, then leaves.

Alone, Salieri rants, upset and humiliated at her rejection. Then he looks at the portfolio, astounded to discover that although they were first drafts, there were no correction marks. Salieri realizes that Mozart must hear complete compositions in his head and is simply transcribing them. Furthermore, the composition that had so moved him the first night he heard Mozart play was not an anomaly. As Salieri reads, the music plays, rising to a deafening pitch and then cacophony after Salieri drops the portfolio. After a moment, Salieri “addresses his God” (55), angry that such a boorish, childish person has such musical talent while Salieri himself is only mediocre. Salieri rails about how hard he has worked while music comes so easily to Mozart. To the audience, Salieri announces that he needs a break to use the bathroom before returning to talk about “the war I fought with God through his preferred Creature—Mozart, named Amadeus. In the waging of which, of course, the Creature had to be destroyed” (56). Salieri grabs a pastry and exits, eating as he goes.