A musical, pseudo-biographical dramedy about one of the most famous composers of all time.
In his most famous play Amadeus, we see Peter Shaffer (1926–2016), British playwright, screenplay writer and novelist, recipient of a number of prestigious awards, as a master of characterisation, brilliant dialogue and extraordinary dramatization where he condenses historical events and provides us with a detailed psychological profiles of his characters. The play was written in the style of retrospective dramaturgy and, as such, allows for all encompassing epic direction opening up a whole range of possibilities for its actors. Amadeus premièred in 1979 but became world famous after Milos Forman turned it into an acclaimed feature film in 1984. Amadeus is based on a fictional account (myth) of the lives and rivalry between composers Wolfgang Amadeus Mozart (1756–1791) and Antonio Salieri (1750–1825). Shaffer drew his inspiration from a short play by Alexander Pushkin Mozart and Salieri written in 1830 which also served as the libretto for the Nikolai Rimsky-Korsakov’s eponymous opera. Evidently, the surviving documents and historical facts paint an entirely different picture of the nature of the relationship between the two composers. However, the stories of the “suspicious” circumstances of Mozart’s death (he was, allegedly, poisoned), but mainly those referring to Mozart’s divine talent for music, became a myth during the Romantic Period when the idea of genius was glorified (in this day and age the same would probably be described as a conspiracy theory) and, as such, served as an ideal premise for Shaffer to work with.
The play is introduced by a narrator, a tired old Salieri, who then continues to guide us to the very end of the play recounting his memories of Mozart. In his address to the audience, Salieri is painfully honest, but this approach is used by the author to reveal his personal torment and tragedy. His attitude towards Mozart is far from being one sided and Mozart is not portrayed entirely as a victim. Simultaneously, we follow an independent narrative depicting the tortured everyday lives of Mozart and his wife Constanze. The scenes flow into one another and are dramaturgically linked and broadened through the addition of historical details of that era. Some of Mozart’s well-known works are included in the play: The Abduction from the Seraglio, The Marriage of Figaro, Don Giovanni, The Magic Flute and The Requiem. Salieri experiences his final showdown with life and God whom he blames for endowing Mozart, whom he believes to be a less worthy human being, with such musical genius while he, believing himself to be a virtuous man, is blessed merely with the ability to comprehend Mozart’s genius but not with the ability to match his skill. When he was younger he adored Mozart’s music which is why he was so desperate to meet him in person. Once he did, he became horrified with Mozart’s personality. Salieri became friends with Mozart and his wife in order to be able to have an impact on Mozart’s career and make sure the Viennese court and emperor Joseph II took Mozart under their wing, thus furthering his artistic development. Various intrigues ensued and things come to a head one night when Salieri, like a dark shadow, visits Mozart who is on his deathbed and composing The Requiem.
The play was directed by Aleksandar Popovski, the artistic director of the SNT Drama in Maribor, whose direction is famous for its filmlike approach to dramatic situations and deep characterisation of individuals in the play.