An aging former musician and composer for the Hapsburg Court who recounts his younger days in 1781 Vienna. Once a devout, highly respected, and socially established artist, Salieri finds his entire worldview shattered when he encounters the boorish but divinely talented Mozart. He struggles with immense envy and a crisis of faith, feeling that God has chosen an unworthy vessel for musical genius.

A 25-year-old musical prodigy whose sublime compositions contrast heavily with his infantile, crude, and arrogant behavior. He easily alienates the Viennese court by flouting polite society's rules and openly mocking established composers. Despite his unparalleled genius, he struggles to secure steady work due to his lack of tact and impulsive lifestyle.

The daughter of Mozart's landlady who becomes his fiancée despite his father's strong disapproval. She is playful and easily drawn into Mozart's childish games, but also demonstrates a practical desperation to secure his career. She is willing to put herself in uncomfortable positions to gain favor for him in the competitive Viennese court.

Two purveyors of fact, rumor, and gossip in Vienna. They act as a chorus, providing information to both Salieri and the audience about public opinion, social scandals, and the shifting attitudes of the court. They represent the voice of the public and the pervasive nature of societal chatter.

The royal chamberlain and groom of the Imperial Chamber. He is a stiff German official highly concerned with propriety and appropriate behavior in the art commissioned by the emperor. He quickly finds Mozart's unapologetic personality and distaste for traditional Italian opera intolerable.

The Director of the Imperial Opera. He is a conservative administrator who lacks sophisticated musical literacy. He is easily scandalized by unconventional artistic choices, particularly Mozart's decision to set a comic opera in a Turkish harem, and uses his position to obstruct the young composer.

The emperor's prefect of the Imperial Library and an influential Freemason. He holds rigid, elevated views on art, believing that opera exists solely to ennoble society. He looks down upon any works that depict ordinary or vulgar life instead of divine or elite subjects.

The Holy Roman Emperor and ruler of Austria. He is an enthusiastic but musically unsophisticated patron of the arts who frequently commissions works for his own entertainment. He relies heavily on the opinions of his conservative advisors and Salieri to determine who should receive royal appointments.

A talented young singer and Salieri's prized pupil. She is the silent object of Salieri's affection, representing an ideal of virtue to him until she is cast in the lead role of Mozart's first German comic opera.

Antonio Salieri's respectable wife. She is a silent presence in his life who serves as a representation of his early virtue, religious devotion, and commitment to domestic stability before his consuming obsession with Mozart begins.

The elderly Royal and Imperial Kapellmeister to the Hapsburg Court. He represents the established, older generation of musicians whose secure positions are highly coveted by younger, more ambitious composers.

Wolfgang Amadeus Mozart's demanding and critical father. Although he resides outside of Vienna, his disapproval looms heavily over Mozart's personal and professional choices, creating a void of paternal support that others eventually attempt to exploit.