Chip tte AMADEUS lees per Th oP FRR gs 3 A PLAY BY PETER SHAFFERFor Robert with Love Penguin Book i 2 Wright ane Lanan W857, Egan ‘ean ons USS Haan rst New Yor, Newer 4, USA Pepin ook (2) Li 219 Warned Auta Now Zaan Pein ots ed, Rept Of amon, Mien, gun Repent ands pe 12 Conon Pee er, 198 ‘ase A hs wba in hi yest red. Under oo Saunt may Ferenc tte pce tle perma a en odin wy Al agate ‘staingprotitea!perorg rein ha pay hl te mae we Me Bo, ‘con Msp, 2524 Reet Seat Londoe WIA 27 tod mpg see ‘forming isto Sam Few i 52 oy St, Loner WIPER Pi ny Cet Ss Expl in he United Str of Aner, th ook ns ‘ict hi lac ayn teri a ex coment nat ng ocr hn Oa condoning peo beget ua AUTHOR'S NOTES mus ser Amadea can and should be played in a varie of stings. Whit is deserved inthis text to a lage extent baed on the exquisite formulation found forthe pay by the designer John Bury, conjured {nto bong by the dtectr, Peter Hall. Twa ofcourse in enthsiaste agreement with his formulation, and set i down here with thee permission ata tribute to their exquisite wor ‘The st consisted basicaly of a handsome retangle of patterned ‘woody is Tongest sides leading away fom the vewer, set into a sage fice bh plastic. This sure shied bepulingl under various lights played upon it to show gunmetal grey, or ane, or emerald grec, and refeted the actors sanding upon it. The entire design wat ‘undeniably modern, yet it suggented without elf-consciousnes the age of le Rococo. Costumes and objecs were sumproouly of he ‘Petod, and should always be 50 wherever the play produced. ‘The rectangle lrgely represented inteion: especialy those of Salers alon; Mozart's at apartment aorted-eepion rooms, and ‘opera houses At the back stood 2 grand prosesium sporting gilded cherubs blowing huge trumpes, and supporting grand curtains cf ‘ky blue, which could ris and part reveal an enclosed space almor the wid of the area downstge. Ino this space superb Backdrops ‘were flown, and superb projections thrown, show the saret boxes of theates, the Back shape ofthe guillotine, oa charming white “Masonic Lodge copied fom a china pate In ¥ the audience could see an eightcenth-cntury set at night (cunningly enlarged fom the id wf Mozar’s own curious snuf-box) ot a vat wal of gold ssiror with an ment gon fireplace, epesenting te enn Pala of Schonbrunn. Init ako appested slhourtes of sandal mongering cians of Vina, o he forages of he Emperor Jove taf Aus pd is brocaded cours Ths went op stage space, which was in efece an immense Rocce pepo wl bevered wo ehrughos the ene Liphe Box ‘On stage, before the lights are lowered inthe theatre, four objects ate tobe sen by the audenee. To the left, om the wooden rectangle, stands a small ble bearing an empty eake-tand anda small handel Inthe centre, further upsage and aso on the wood, stands an empty Wherlehair of the eighteenth century, with its back to us. To the right, om the reflecting plastic, stands a beautiful fortepino ina ‘marguctry case. Above the stage is suspended a large chandelier showing many globes of opaque glass. ‘All directions willbe given from the viewpoint of the audience. (Changes of time and place ae indicated throughout by chang one H ighout by changes Inreading the text it mas be remembered tht the action is wholly continuous. Its fuidity i ensused by the use of servants played by actos in eighteenth-centary livery, whose role itis move the farmkure and carry on props with ease and correctness while the action proceeds around them. Through 3 pleasant paradox of theatee thei constant coming ard going, bearing tables, chai or cloaks, shouid render them virually invisible, and certainly unemarkable ‘This will ad the play to >e acted throughout in ite proper manner; withthe sprung line, gracefulnes and encrgy for which Mozart is so especially celebrated, ‘The asterisks which now and then divide the page indicate changes ‘of scone: but thete is to be no interruption. The scenes must flow into one another without pause from the beginning tothe end of the pla tay. os Amadeus was frst presented by the National Theatre in London on 2 November 1979 with the following est THE ‘VENTICELLI" Dermot Crowley Donald Gee vaLer ro sattent Philip Locke ANTONIO SaLteRt Pail Scaild JOHANN KILIAN von STRACK Basil Henson COUNT ORSINI-ROSENBERG Ardrew Cruickshank BARON VAN switTeN Nicholas Selby CONSTANZE WEBER Feieity Kendal WOLECANG AMADEUS MozaRT Simon Callow Major-DoMo William Sleigh JOsHFH M1, EMPEROR OF AUSTRIA. John Normington servants Nik Forster, David Mortis, Louis Selwyn, Steven Slater crrizens or viswwa Glyn Baker, Nigel Bellas, Le» Dove, jane Evers, Swan Gilmore, Robin ‘M:Donald, Peggy Marshal, Robin Metedith, Ann Sedgwick, Glenn Williams Diector: Peer Hall Design and Lighting: John Bury ‘Assistant Designer: Sue Jenkinson Mosie by Mozart ane Salieri Music Dircction: Harrison Birtwistle Fortepiano played by Christopher Kite ‘This is a revised version of Amadeus fist produced at the Broadhurst ‘Theater, New York City, on 17 December 19fo. It starred lin “McKellen 25 Salieri, Tim Curry 25 Monat, and Jane Seymour 3¢ ‘Censanze. The Director was Peter Hall 7CHARACTERS. CONSTANZE WERER Wife to Mozart yosrra it Emperor of Austria COUNT JOHANN KILIAN VON srRAcK Groom ofthe Imperial Cl onsint-nosaymenc Director ofthe Imperial Opera smreren Prefect ofthe Imperial Library wo "VENTICELLI' ‘Little Winds’: purveyors of information, gosip and mayon-Domo satinr’s vater (Silent par) satipni’s Cox (Silent part) ‘Teresa saticnt Wile of Saleri (silent part) KaTHERINA CavALiERr Salir’s pupil (alent part) KAPELLMEtSTER ONO (Silent par) ‘The c1T1Z8Ns OF VIENNA abo ply the suevANTS who move famicare and bring on prope a requied, and TERESA SALLERI and KaTHERINA CAVALLI, neither of whom have any ines to speak, “The action ofthe play takes place in Vienna in November 182) and, in recall, the decade 1781-1791 ACTI Darknes: Savage whispers fill the tear. We can dsinguish nothing a fist from this snake-like hissing ewe the word Sales repeated here, there and cverpwhere around the thet ‘Alto, the bore distinguishable word Assassin! ‘The whispers overlap and increase on volume, slashing the air with wickel intensity. Then the light grows upstage 19 reveal the silhouetes of mee nd omen dresed inthe op hats ond sits of the carly minetenth centr) SMcuTizEns OF VIENNA, all crowded together inthe Light Box, and vatering thee scandal wuspenens: Salieri. Sle! .. Sait [Downstage in the wheelchair, with his back ous, sits a old max We can just see, asthe light grows a litle brighter, the top of hs Inca encted in a oles, and perhaps the shawl wrapped around his shoulder.) Salen ..~ Salieri... Sai? [Ties middle-aged gntemen hurry in from ether side, alo wearing the long cloaks ana tll hats of the perch. These are the TWO evericeLtts purveyors of fcr, amour and gonip thoughout the lay. They speak rapidly ~ in this ft appeorance extremely rapidly ae that the scene hat the ait of a fast and dreadful Overture “Sometimes they ‘pesk 1 cath other; sometines 0 42 — But always ‘with the agency af men who have ever bes fst withthe news]venricetto 1:1 don't belive it vewticeLto 2:1 don't belive it vewriceLio #1 don’ believe it Vantrcet io 2:1 don't believe it waispenens: Sai! vewticento 1: They sy. vewtictLio 2: | bear. vantiestto 1: [ her. ventie#tto 2! They ay. Vuwticento 1 and vewrtcetto 2: I dot belive i! waniseenens: Sali! venticetto 1: The whole city stalking. Venticerto 3: You hear it all over. vantieEtio 1: The cafes ‘ventichtto 2: The Opera. venticetto #: The Prater. vewricetto 2: The gutter. Yentiestto 15 They wy even Metternich repeats it Venticetto 2: They iy even Beethoven, his old pupil. venricento 1: But why now? vontrceLio 2: After so long? Vewtrertto 1: Thitty-rwo yeas! Venricntto tand vaNricetto 2: I dot belive Wt wnisrenens: SALIERI! vewrrceLto 1: They ay he shouts it out all day! Vewtrentto 2: [heat he cries t out all night! Vewricetto 1: Saysin his apartments, vewricHLto 2: Never goes out venticerto #: Not for a year now. ventre#ito 2: Longer. Longer. Venticento #: Must be seventy vewticaLto 2: Older. Older. vewricELto 1: Antonio Salieri ~ ‘vawticetto 2: The famous musician ~ veNriceLto 1: Shouting it aloud! venricetto 2: Ceying i aloud! vewricEtto 1: imposible. venriceito 2: Ineredble. vewricetto 1: I den’ believe ie VENTICELLO 2: I don’t believe i! waspenens: SALIERI VENTICELLO 1: Tkzow who stated the tale! vewricetto 2: Thknow who sarted the tale! [Two ld men one hin and dry, one very fal — detach themselves fromthe coud athe back, and walk dwrstoe, on ier side: Salers VateT and pasty COOK] vaNTICELLO 1 [indiating hin]: The old man’s valet VENTICELLO 2 [iudating hin): The old man's cook! ENTICELLO I: The valet hears him shouting! vewricetto a: The cook hears him erying! venticetto 1: What a sory! vewricetito 2: Wat a scandal! [The ven riceLimove quickly upstage, one on thr sid, and ach collet a silent iformant. VENTICELLO 1 walks down eagerly with the VALET; VENTICELLO 2 walks down eagerly vith the COX.) vewricetto 1 {tater}: What docs he sy, your master? veNTicutto 2 [te coon: What exactly docs he ay, the Kapell- ENTICELLO 1: Alene in his house ~ VENTicetto 2: All day and all night — venTiestto 1: What sins docs he shout? venticEtto 2: The old fellow — vENTICHLLO 1: The techie — YenticEtto 2: What horrors have you heard? VENTICELLO Tand vENTicELLo 2: Tell us! Tells! Tel ws at oncet ‘What docs he ery’ What docs he ery? What does be er? [waLaT ond COOK gesture towards SALIERL] sAtignt [i a great ey} MOZART! [Silene]ayers oti Ment Venmtonite #feupe Moret ; SEMIS! Peconic Ie i # de por! State an, Moa SENTCEEES 3 Sey Purdon your oust vemeng 7 laiNtmcusio a Gad preee! satin: Pit, Mesa Most, pti evrlcenn a: Moss hve mercy! VeNclcetn 1 Heit lon when excel vensteriso 2 Gran when nt Venrtettio 1 ena, Moca! Venrteetto 2 Parton your soi Tine wate and We coon alk to eter se the sae Ue cet Base Tie vanes thst dey She eniteet 1:-There ws one Bere, you kom vanrtentio 2: Tyo yo 90 VEkneseco 1: When Mont wa hing Venrvettto a He cmed he'd ben poisoned. Venrteeite 1: Some he ced 4 a Venrieatto 2 Some ead th man wo Se Vanriettio 1 Doron bleved Venricetto a: Tay hee what he id of! venricent + Spi cy VESticetts a: te ewcytody ee ce . andiencce «by But what Mora a gt Vetricetto athe rely wr meet? VEEREIEES 4 And by im, Ow Hn Kepaneise Vanrertto 2: Amon Sar Venricento 1c ponbly be ee Vevricttto a lessen ered Vaneruto 1: Bec why? Vonvtcente 2: Bosse why? VENTICEILO I and veNTICELLO 2: Why om cath would he do i? VENTICELLO 1: Our Fast Royal Kapellaester— venricetro 2: Murde his inferior? VENTICEILO I: And why confess no1? VENTICEILO a: After einy-two yean! vwinsreseas: SALIERI sanaeet: Mozant! Mozart! Pedonami perdone! [Panse. They look «his ~ thew teach other} veNTicEtto 17 What do you think? VENTLCELLO 2: What é0 you think? VeNTicetto 1: I don’ believe it VeNticetto 2: I don't beliewe i venTicetto 1: All he same MENTICELLO 2: Is it je possible? TENTICELAO 1 and VENTLCELLO 3 [whipering: Di he do i fer ater wiusreeens: SALIER! [The venricetst go off. The Vater and the COOK remain, on either side ofthe stage. SALIERI swivels ie wheelchair around and stares at ws. We sce aman of seventy in on old tained desing, ‘shaled. He rises and squint at the udlence as if tying toe] 1H tue asasino i chide NOVEMBER 1823. THE SMALE HOURS saLinRt [elling 10 audienel: Vi Salto! Ombri del Faso! “Antonio Salieri ~ a voaro servizio! [A clock ouside inte strc strikes the.) 4 can almost see you in your ranks ~ wating for your tums to live. Ghosts ofthe Future! Be visible beg you. Be visible. Come ao this dusty old room ~ this time, dhe smallest hours of dark November, eghtcen hundred and twenty-three ~ and be my Confessrs! Will you not enter this place and stay wich me sll dawn? Just ill dawn ~ al sx o'clock! vwauspentns: Sali .. Sale! [The curtain slowly descend on the CrTIZENS OF VIENNA. Faint Images af long windows ave projected on the silk satizar: Can you hear them? Vienna isa City of Slander. Everyone ells tales here: even my servants, I keep only two now ~ [He Indicates them} ~ they've been with me ever since I eame here ity years ago, The Keeper ofthe Razor: the Maker of the Cakes: One Keeps me tidy, the other keeps me fall. Tonight, 1 gave them instructions they never heard before. [To them] ‘Leave me, both of you! Tonight I do not go to bed at all” UThey reac in surprie| “Retumm here tomorrow moming at six precisely ~ to shave, to feed your capricious master” [He ailes at them bo and claps his hand in gentle diss} Vie. Vis, via, vial Grazie! [They bow, bewildered, and leave the stage] How surprised they were! ... They'll be even more surprised tomorrow: indeed they will [He peers har at the auiene, eying fo seit] Ob, won't you appest? I need you ~ desperately! This is now ehe lat hour of my lle. Those about to die implore you! ‘What must Ido to make you visible? Raise you up in the flesh tobe my las, last audience? ... Does it ake an Invocation? That’ hhow it’s always done in opera! Ab yes, of course that’s it. An Invocation! ‘The only way [He riser] Let me try t0 conjure you sow ~ Ghost ofthe distant Furure~ so that I can se you. [He ges ot of the wheelhair and huddle over tothe fortepian. “le stands tthe instrament and epins 1 sing in a high cracked voice, ineruprng himself atthe end ofeach senence with figurations on the keyboard in the anner of « rectativo secco. During this the howe lights slowly come wp to bawinate the audien Singing) Ghost of the Furare! 4 Shades of Time to comet ‘So much more unavoidable than thote of Time gone by! “Appest with what sympathy Incration may endow you! ‘Appar You~ The yerto-be-born! “The yertorhate! The yerrokit Appear ~ Powerit! [The light onthe autence reaches ts maximum, I ays like tis turing al of the flowing} {speaking agin There. worked. I can see you! That ithe resale of proper taining. I ws taught invocation by Chevalier Gluck, ‘who oa true master ait He had 0 be. hie day hati what peo wen the pe fr he ag of Gad, and hows iowadays, since Rosini became the rage, they prefer ro math the ecapas of baitdrosers. seer \Pane} Sous. Invocation ian exhausting busines! I need seffshmest. {He gosto the cokes 1 il rept admit but actually the fst sin T have to confess t0 you i Gluttony. Sticky gttony at that. Ifantine~ Hen gluttony! The thi tha al my He have never been able to conguer a lst or the sweetmeats of sorter aly where was born. From the age ofthe to seven) three my cite carer fas Been conducted the ate of mons sprinkled with sifed spa. [Layly] Veronese Biscuits! Milne iacsroons! Snow dumplings wth pitachio sce! [Pans] Do not jdge me too harshly forth. All men haroour patriotic flings ‘of some kind... Ofcourse Iwas bor in 1750, when no man of sophisicaton would have dreamed of taking about Love of Country, or Native Earh. We were men of Burope, and that was enough. My parents were provincial subjects of the Austrian Empit, and perfectly hippy tobe so. A Lombardy merchant and his Lombardy wife. Theit notion of Plce was the tiny town of Legnago ~ which I could not wait to leave Their notion of God ‘was superior Hepabarg emperor inhabiting heaven ony slighty 15sausent [in a young man's voice: vigorous an! confident}: The place ‘throughout i Vienna. The year ~ to bogin with ~ seventeen ceghty-one, The age sll that ofthe Enlightenment that clear time before the guillotise fll in France and cut all our lives in half. Tam thiry-one. Already a prolific composer to the Hapsburg, ‘Court. Town a resectable house and a respectable wife ~ Teresa [Emer tenesA: 1 padded placid lady who vets herself uprighly in the chair upstage 11do not mock hey, I astute you. I required only one quality in domestic companion ~ lack of fire. And in that omission Teresa ‘vas conspicuous. [Ceremoniously he pus on his powdered wig} also Ind a prize pupil: Katherina Cavalier TkAaTHERINA srl on from the opposite sie: « beautiful girl of Inventy. The muse Becomes vocal faintly, we heer a seprano singing «concert aria. Like TURESA’r, KATHBRINA’S port is mute ~ but tr she enters she stands by the forepiano, and energetically mimes her rapturous singing. At the keyboard old WORN accompanies her appreciative] satin: She was liner to become the best singer of her Age. But ‘a that time she wat mainly a bubbling student with merry eyes and a sweet, eatable mouth. Iwas very muchin love with Katherina or at least in use. But because of my vow to God, I was entirely fithfl to my wife bad never laid a finger upon the gil ~ except «ccationally to depress her diaphragm in the way of teaching ber to sing. My ambition bumed with an unquenchuble ame. Its chief goal war the por of First Royal Kapelmeister, then held by Giuseppe Bonne ~ [indicating him] ~ seventy years old, and 2pparently immoral [Allon stage, seve SAUER, suddenly freeze. He speaks very det to the audience | ‘you, when you some, will be told dha, we munitions of dhe cighteenth cencury were no better than servant: the willing slaves of the well-to-do, This is quite tre. Its abo quite false. Yes, wwe wore servants But we were lexmed servants! And we used ur lerning to cdlebrate men’s average lives! {A grander music sounds Th xasran.on remains eet the ther fot mn inthe Ligh Box von sT#ACK, ORSINE-ROSENEENG, Saw severe andthe paist —come douly ou onto he main Sage ad proces imposing dun yan are iy and i in tort thi ples Only the rns ges of do Tens ‘mh ide, and WATWERINA oer {vert} We took uemarkable men: vn bankers, rn-ofche- mill prices, ordinary soles and temen and wives and = tnenalized hen metocriy We stmothed thir none with ngs Swot We pierced their nights wth chiara We pave them process fr thir rating ~ serenade for thei tng — hgh From fer thie hunting, and drums for thir war! Trompe sounded when they entered the word, and trombones gromed sven thy kta The evout of ther das remain behind bee ‘ts, out mose sil remembered wile thar plies are ong forgo [The enon hand his rolled per © vow STRACK ond gor Off the Light Box ae ft naring, etree os, On = ossunexc, phim and spent eed sity: VON STRACK tnffandprpe aed fsoe;van wie 9%, calvaedond ers, caged fifty. The lights ge down on tiem a little.) Tellme, efor you el evant, who served whom? And who T wonder, in your generstons, wi immortze yeu? {The cwo venticritt come oe ily downto, fom eter Sie, They are now bevigel alin ae teed wel he ye {ft a egheenh cennry. Thirmannr is more cnet on before.) vewricetso + [lo satien Si vewrretio 2 fe sauient| Sit vawrientio 1: Sk, 8 Vintrceuco 2: Sit Si Sit sation fd them wit foro son} sauinat: Twa the mon sect young muskian inthe city of scan, And now adden, without warning ~ [They appronh him egy, fom ether ie 9venticitto 1: Mozart! ventrceLto 2: Mozart! VeNTICELLO 1 and VENTICELLO 2: Mozart has come satient: Thee are my Venicell. My‘Litde Winds’ 1 call them, [He gives each a coin fom his pocket | The secret of succesful vig in a lege cty is always to know to the minute what i being done behiné your back. venricetio 1: He's ft Salzburg vewticetio 3: Means to give concerts Ventientto 1: Asking for subscribers, SatiERr: Fd known of him for years, of course. Tales of his prowess ‘were told all over Europe venricento 1: They sy he wrote bit frst symphony at five. VENTICELLO 2: I ear his fist concerto at four. venticerto 1: A fall opera at fourteen Satins [to thi: How od is he now? vantiCHLto 2: Twenty-five. Satine [carefilly And how long ishe remaining? ‘venTicELLo 1: He's not departing VenticHtto 2: He's here t0 stay. [The venricetts glide of] ‘THe PALACE OF SCHONDRUNN, [Lights come up om the tee tf ques of ORSINT-ROSENDERC, VON STHACK and VAN SWAETEN, standing upstage inthe Light Box. The (CHAMBERLAIN hands the paper he ha coed from the Emperor che DinecToR OF THE OPERA. SALIDEL ‘omains downsage] VON STRACK [te Onsiwi-RosENBENG]: You are required to com- ‘mission a comic opera in German from Herr Mozart. Satie [fo audiewel: Johann von Strack, Royal Chamberlain, A ‘Court official to his collar bone. sosenatne [lefily}: Why in German? Italian isthe only posible language for opera! saLtent: Count Orsini-Rosenberg. Director of the Opera. Benevo- Tent tall shingsHalian ~ especially myself vow s1HACk [stiffyk The idea of National Opera is dear to His “Majety’s heart. He desires to hear pieces in good phin German. VAN SWIETEN: Yes, bt why comic? Its mot the function of musie 0 be funy, satient: Baron van Swicten, Prefect ofthe Imperial Library. Ardent Frcemazon. Yet o find anything fanny. Known for his enchusasmn for eld-fshioned music as “Lord Fugue’ van swieren: | heard lst week 2 remarkable serious opera ‘rom Morir: Idomenco, King of Cre. nosensne: T heard that t00. A young fellow trying t0 impress ‘beyond his abilities. Too much spice. Too many notes. VON STRACK L,iamly, t OnSINI-RosENBERGI Nevertheless, kindly convey the commission to him today. nosenpane [aking the pepe rlucanly): I believe we are going t0 have trouble with this young mn. fonsini-nosennenc leaves the Light Bax and slls down the sage © Satie) nosennenc: He wat a child profigy. That always spells rouble His father is Leopold Mozart, a bud-tempered Salzburg musician ‘who dragged the boy endlesly round Europe making him play the keyboard blindfold, with ose finger, and that sor of ding. [Te satieni] All prodigies are hatefil ~ non & vero, Compostore? Satin: Divengono sempre steri on gl anni ROSENBERG: Prezamente,Presianene VON srmack (calling spiciusly What are you saying? nosexsexe [airy]: Nothing, Hers Chamberlain! .... Nien, Signor Pomposo!... [Fe strolls on out] von STRACK sides off iited, VAN SWIETEN now comes footage}VAN swirres: We meet tomorrow, I believe, on your committee To devise pasione for old musiians Satin [defeentialy| T's most gracious of you to attend, Baron, ‘vaw swierin: You're a worthy man, Salieri, You should join our Brothethood of Masons. We would welcome you warmly. SAtrenr: I would be honoured, Baron! VAN swistey: If you wished I could arrange inition into my Lodge. SALIERE: That would be more than my due, YAN swiETeN: Nonsense. We embrace men of talent of all conditions. 1 may invite young Mozart also: dependent on the Impression he makes. saxtunt [bowie Of course, Baron, [WAN swrerex ges out] [To cudienc| Honour indecd. In those days almos every man of influence in Vienna: was a Mason ~ and the Baron's Lodge by far the most fashionable. As for young Mozart, | confess | was alarmed by his coming, Not by the commission ofa comic opera, even though I myself was then attempting one called The Chimney. ‘Sweep. No, what worried me were reports about the man himsell He was prased altogether too much. [The venricener hury i from ether side) venTicELLo 1: Such gaiety of spirit VENTICELLO 2: Such cate of matne vewricento 1: Such natural charm? SALEM: [tothe VENTICELLI|: Really? Where does he live? venricetto 1: Peter Pitz vanticetto 2: Number eleven. vewticetto 1: The bndlidy is Madame Weber. VeNTICELLO 2: A real bitch \VENTICELLO 1: Takes in male lodgers, and has a tribe of daughters. VeNTicELtO 2: Mozart is after one of them, VENTICELLO 1: Constanze venticrtto 2: Fighty litle piece! vanticetto 1: Her mother’s pushing marriage venrrentn0 2 His fathrfnet vENTIcELLO 1: Daddy i worried sick! vewricetto 2: Writes him every day fiom Salzburg! SALIERI [them I eant to meet inn. What howtes docs he vist? VENTICELLO 1: He'll be at the Baroness Waldsideen's tomorrow night. satient: Gracie, VENFICELLO 2: Some of his musi i to be played. SALIER [0 both} Resim in conta VENTICELLO 1 and VENTICELLO 2: Certamene, Signore! (They go off] sAtiEnt [0 audione: So the Baroness Walstien's I went, That night changed my life ‘TE Lineany OF THE BARONESS WALDSTADTEN Lith Ligh Bes, legend window rune by hansne ed ape Teo Suncast bing on age tle led with es nd dees Tie mate tary on 8 od hie wings, which they pla ‘oontnlnl ova he sauna Lene the Hoary to ke ist ine ef tment. My gorerous Hose awaye pa et the most dees Contos ntharroom whenever ete Ie comng Sel mame ad nent spec» misc ome el asa hh simpy ern Che mined with graced tga and ‘alfind with ts wich ws eal feeb [ie see ate olf cbs ands he wing {hs Jag ot fo Pa ate, eae aoe ue ijt Jovn ina igh backed cio consumes pads adish ~ unobservable 2s it happened to anyone who might come [Opitage, noises are heard} ‘consTAanze [aff Squeak! Squeakt Squeak! [constAnzi ron from uprtage: a prety gir hr carly wens, Jill of high spins. AL ths second she is pretending to be a mouse. ‘Se rams across the tage iw her gay party des, and hides under the Jonepano ‘Suddenly «smal, pallid, lrge-eyed man ina showy wig and «showy Set of cates runs in afte er and freezes ~ conve ~ asa cat would freeze, hunting a mouse. This is WOLEGANG AMADEUS MOZART. “As we get 1 now him trough his nest scenes, we discover several ‘things about him: hei an extremely veless ma, his hands and feet fn lost continous motion; hi voce i igh ad high; and he is posse of nore ping adi ‘CONSTANzE [betaying where seis: Squeak! MozAnr: Miaouw! Miaouw. Miaouw! [he composer dope om allour ond, wrinkling hi fe, begins spting ‘and tthing hs prey. The mouse ~ gating with excitement ~ breaks her cover and dashes aro the lor. The cat pcsus. Almost at the ‘harwheres LIBR t concealed the mouse urratbay. The ctstalke her ~ nearer and nearer ~ in ts kncebreces ad elaborate coat.) I'm going to pounce-bource! I'm going to seunch-munch! I'm going to chew-poo my ltée mouse-wouse! I'm going to tea her to bits with my paws-clws! constanze: No! Mozant: Paws-claws! Pawsclaws! ... OHH! [He falls on her. She seems.) SAatisnt [to audience): Before I could rise, it had tecome difficult to dow. ‘Mozaet: I'm going to bite you in half with my fangs-wangs! My Tiule Stanzerh-wanzerl-banerll She giggles delighted, ling prone beneath his.) ‘You're trembling! ... I thnk you're frightened of puss-wuss! [think you're scared to death! [Jntimately] | think you're going to shit yourself? [She sues, but not relly shocked.) MozAnr: Ina moment ifs going t0 be on the oor! ‘cowsrawze: Ssh! Somecne'll hear you! [He imitates the noise of «fr. Stop i, Wolfel! Ssh Mozant: Here it comes now! I can hear it coming! ... Oh what 4 melancholy note! Something's dropping From your boat! [Another fart nose, slower. CONSTANZE shih with amusement} ‘CONSTANZE? Stop it now! I's spi! Realy stupid [sautens sits epplled] Mozart: Hey ~ Hey ~ what's Trazom! Constanze: What? Mozant: T-R-A-Z-O-M. What's that meant CONSTANZE: How shoul know? Mozant Ir’ Mozart spelt backwards ~ shic-wt! Ifyou ever married ‘me, you'd be Constanae Trazom, Constanze: No, I wouldn't MozAnt: Yes, you would, Because I'd want everything backwards ‘once I was married. 1 want to lick my wife's are instead of her face. ‘CONSTANZE: You're not going to lick anything at this rate. Your fathers never going to give his consent fe, [The sense of fun dese him instantly) Mozant: And who cares about his consent? Constanze: You do, You care very much. You wouldn't do it without it mozart: Wouldn't CONSFANZ#: No, you wouldn't, Because you're too scared of him. know what he says about me. [Solemn voie] “Ifyou marry that dreadfal gir, you'll end up lying on staw with beggars fo: chikdeen" sozant impulsively): Matry mel ConstANzE: Don’t be aly. aMozanr: Marry me! CONSTANzE: Are you seriou? MoZAnr [defionly|> Yes! ... Answer me this minute: yes or no! Say yes then I can go home, climb into bed ~ shit over the mattress and shout "Td i" [He rolls on-ap of her delighted, tering his high whining git. ‘The MA}O¥-DOMO ofthe hove sas in, upstage] ajon-Dooto [inperviouly} Her Ladyship is ready t2 commence, Mozawr: Ah... Yes!... Good! [He picks himeelfup, emboraie, and helps CONSTANZE tris. With an atte at digit} Come, may dear, The music wait CONST ANZE [sippresing giggles}: Oh, by all means — Herr Trazom! (He takes der arm. They prance off together, followed by the sleapproving Mayon-DOMO,} saxsen [shaken 10 audience: And then, right away the concert began. heard it throagh the door ~ some Serenade at frstonly vagucly too horrfedto attend. Bu presently the sound insisted ~asoler ‘Adagio in E fat. [The Adagio from the Serenade for Thineen Wind Instrumente (361) begat 1 sound Quicly’ and quite slowly, seated in the Wwingehair, saxiens speaks over the mic Ir Suarted simply enough: jext 4 pulse in the lowest rogiters ~ bssoons and taset homs ~like a rusty squeezebox. ke wotld have been comic except forthe slowness, which gave i instead a sort of serenity. And then suddenly, high above it, sounded a single rote on the oboe, [We her it} Thang there unwavering ~ piercing me through ~ il breath could hold it no longer, and a clarinet withdrew it out of me, and sweetened it into 2 phrase of such deight ie had me trembling ‘The light flickered in the room. My eyes clouded! [Wi ever Increasing emeton and vigour] The squcerebox groaned louder, and lover it the higher instruments wailed and warbled, throwing line fof sound around me — long lines of pain around and ehrough me = Ab, the pain! Pain as Thad never known it.I ealled up to my 26 sharp old God ‘What is hs? ... What?” But the squeezebox went fon and on, and the pain cut deeper into my shaking head unt ssiddenly Twas running ~ [Ee Bolt out of the chair and rans across the stage in a fver, 1» «commer, down right. Bind him inthe Light Box the Library fake ino a stvect scene at night small houses under a vet sky. The muse ‘continues, fainter, underseath] = dashing through the sde-door, stumbling downstairs into the sxret, into the cold night, gasping for life (Calling up in agon) “Wha?! What is this? Tal me, Signore! Wha i this pain? What is this need in the sound? Forever unflfllble yee falling him who hears i, utterly. st Your need? Can itbe Yours?" [Pawe.| DDimly the music sounded from the salon above, Dimly the stars shone on the empty srex. I was suddenly fightened, e seemed ta me I had heard a vaice of God ~ and shits ised from a «ature whose own voiee I had also heard ~ and it was the voice fof an obscene child! [Ligh change. The set sone fades} [Ut remains dark.) satiznt: Han home and buried my fear in work, More pupils — tllehere were thirty and forty. More committees to help musician! More motes and anthems t0 God's glory. And at night I prayed for just one thing. [He incels desperately ‘Let your voice enter mel Letme conduct you! . Let me! [Pause. Herve] As for Mozart, avoided meeting him ~and sent out my Lisle Winds for what- ‘ever score of hit could be found. [The venriceLat come in with manwarips. SALIERI sits at the a”Senepiano, and they show him the msc aliematly, es SERVANTS tunobrsively remove the Wldtadios table and wing-hair | vewtresrto 1 Six fortepiano sonatas compored in Munich, vewticEtio 2: Two in Mannheim. VENTICELLO 1 A Parisian Symphony SALIERI [lo aulene|: Clever. They were 'ccmed to me completely empty! venticeLto #: A Divertimento in D. vewticeLto 3: A Castazione in G. venticeto 1: A Grand Litany in E Flt. Ssatitar [fo aufince): The same. Conventional. Even boring. ‘The ‘productions ofa precocious youngster ~ Leopold Mozart’ swanky Son = nothing more. That Serenade was obviowsly an exception in his work: the sort of accident which might visie any compose fon a Tocky day! [The venmtceLts go of with the musi] Hid [in actbeen simply taken by surprise thatthe filthy ereane ‘ould write asic ata? .,. Suddenly | felt imamensely cheered! Twould seck im out and welcome him myself to Vienna! I clever. And yee they [Quik light change. The emrenon Josten is revealed stonding in bright light before the gded ios andthe fireplae, artended by CHAMBERLAIN VON STRACK. ifs Majeny isa dapper, cheerful gue, aged forty, largely lesed with Kinelf and the world: Doane, Jom appa sides, VAN SWHETRN and ORSINI-ROSENBERG hry on] ‘oseru: Fetes nd fireworks, gentlemes! Mozartis here! He's waiting ‘below! [All bow.) ALL: Males! {JOSRPN: Je suis Joement impatient! satient [0 audieme}. The Emperor Joreph the Second of Austria ‘Son of Maria Theres, Brother of Marie Antoinette. Adorer of ‘music provided that it made no demands upon the royal brn [To the smrenon, deerentilly) Majesty, ¥ have written a litle ‘march in Mozat’s honour. May I play it ashe comes in? soseeu: By all means, Court Composer. What 2 delightful ideat Have you met him yet? ‘saLtear Not yet, Majesty JOSEPH: Fétes and fireworks, what fen! Strack, bring him up at once, [vowstmacx goes off. The Em#tnon comes nto the sage proper] ‘Mon Dieu, I with we could have a compeciionl Mozart against some other virtioso. Two keybeards in contest, Wouldn't that be fin, Baron? Vanswieren [tify Not to me, Mejesty not horses co be run agunst one another. [Slight paw} josepu: Ah. Well ~ there i is [von steack rem] von stack: Heer Mozart, Majesty Josten: Ab! Splendid... [Conspraoraly he sgn SALtERt, who moves guicly to the fortepian.} Court Composer ~ allo! [To von stack] Admit him, please LUnsontly SALIERE st atthe incrument and striker up his Merck on the Keyboard. AC the same moment MOZART stu in, weaving highly orate sucoat, with dessword ‘The eureRon stands downstage, cene, his ack 1 the audience, sand as mozant approaches he egret ion to halt and ison Bewildered, woz an docs 19 — booming aware of sAti6 playing his March of Welcome. Its an extremely banal pie, vaguely ~ but nly vaguely ~ reminiscent of eother mar to become very fous later on. All sand frozen in ates of Bening, until SALIERL comes toa finish, Applause} a my view, musiciansaresoseeu [lo sa:tentf Charming ... Comme dhabitude! [He tums end ‘extends his hand 1 be kissed | Mozart [wozant approaches and keels extravagantly) Mozanr: Magesty! Your Majesty's humble slave! Let me kis your Toyal hand s hundred thousand ties! [He kisses it greedily, over and over again, uni its oumerwithnovs {ein embaresment | yoseeH: Now, non, il vous plat! A ice less enthusiasm, I beg yeu, Come sir, ess! [Fle asiste MOZART 10 rie} You will ot recall i, but the las time we met you were also on the foot! My Sister remerbers it this day. This young man ~all of six yeas ld, mind you ~ lipped on the fbor at Schénbrunn ~ came a nasty pusle on his Bele head... Have I told you this before? nosensene [sil]: No, Majesty! VON STRACK [hasty]: No, Majesty! ssatienr (hasty: No, Majesty! Josten: Well my see Antoinette rans forward and picks him op hese, And do you knovr what he doer? Jumps eight into her arms ~ hoopla, just like that! ~ kiss her on both cheeks and siys “Will you marry me: yes oF no?” [The cooettens laugh politely. MozARr emits his high-pitched sigge. The ewrenon ie clearly sured by ic] Josenn: Ido not mem to embarras you, Hert Mozart. You know ‘everyone here, surely? MozanT: Yes ste, [Bowing elaboraely to onsINt-nosEN BERG} Herr ‘Director! [To VAN swiereN] Herr Prefect. ‘yaw swieTes [warmly]: Delighted to see you again. soserit: But not, I think, our esteemed Court Compose “erious omsion! No one who caes for art can afford not to know Hier Salieri He wrote that exquise litle March of Welcome ‘or you. SALIERE: Te was 2 trifle, Majesty. Joseeit: Nevertheless. MozAnr [0 satiznif I'm overwhelmed, Signore! ‘Joserit: Idea simply pour out of him ~ don't hey, Strack? --Amost xe staace: Endlewly, ste. (As if ipping hin] Well done, Salieri Josten Let it be my pleasure then to introduce you! Court ‘Composer Salieri ~ Here Mozatt of Salzburg! SaLteRt [seekly, 10 MOZART] Finalmente. Che gia. Che diktto tradi, [He gives him a pri bow and present the copy of his music the ther composer, who accept it wit «food of lalin.) Mozant: Grazie Signore! Mille milime di benventi! Sono commas! "Ea onreexcexionaleincontrarlal Camposto brillant efamesisino! (He makes an elaborate and showy ow in return satin [dryly Gracie joseen: Tell me, Mozart, have you received our commision for the opera? ozAnr Indeed I have, Majesty! 1am so grateful I can hardly ‘speak! ... sweat to you that you will have the best ~ the most perfec entertsinment ever offered a monarch. I've already found 2 libre. osENHERG [sterded: Have you? I didn't hear of this! Mouant: Forgive me, Here Director, I eniely omutted to ell you. ROSENBERG: May Task why? mozanr: It didn't seem very important Rosensinc: Not important? Mozanz: Not rally, no. ROSENAERG [iritaed]: 18 important wo me, Here Mozart. Mozart [embarased|: Yes, see that. Of course. noseNERG: And who, prays is it by? Mozant: Stephanie, osennenc: A most unpleasant man, Mozant: But a brillant writer osennénG: Do you think? MozAar The story i ally amating, Majesty. The whole plot set in a~ [He gpl] ~ in a sosePH leageriy: Where? Whereis ic sex? Mozans: I's ~ its rather saucy, Mayesty! rH: Yes, yes! Where? ”Mozart: Well’ acemly set in a serglo, Josern: A whi? Mozanr: A paha’s harem. [He gages wily.) nostNaenc: And you imagine that i suitable subject for perfore ‘mance at a National Theatre? mozant [in a pani: Yet Nol Yes, | mean yes, yes I do. Why ‘not? It’s very funny, #°s amusing ... on my honour ~ Majesty = there's nothing offensive init. Nothing offensve in the worl. [e's fll of proper German virtues, swear satin [bland Seve, Signore, tut what are those? Being a foreigner I'm not sate, soszeit: You ire being cto, Court Composer Satient: Not sal, Majesty jose: Come then, Mozart, Name ts a proper German virtue! MOZART: Love, Sire. I have yet to sce that expresed in any oper. VAN swisrex: Well answered, Mozart. sAaLient [onlin Saute. 1 was under the impression one rarely ‘sw anything ele expresed in oper. ozant: [mein manky love, Signore. Not male sopranos screeching, Or stupid couples solling their eyes. All that absurd ealian| rubbish [Pauce, Towion. oRSINI-ROSENBERG coughs) 1 mean the wal ching. sosten: And do you know the teal thing yourself, Herr Mozart Mozanr: Under your pardon, I chink ldo, Majesty. [He gives a shot size] sosteit: Bravo. When do you think will be dane? MozAnt: The first at is already finished, joseeit: But it can’t be more than two weeks since you started! Mozant: Composing is not hard when you have the right audience to pleas, Site AN SWIETEN: A charming reply, Majesty, yostrn: Indeed, Baron. Fetes snd fireworks! I see we are going to have fete and fireworks! Au revit, Monsew Mozart. Sop Diener la our B ‘modant [wih expet reply: Majed! ~ je nis comblé honour ire apt don la maison Dire de tou er musics! Serra ‘monargus ss plein de dcersement ue vote Maj, est wn honnewt (dpa eset de ess! {A pace. The EMPEROR ie taken shack byt flood of French} sosuru Ab. Well there it I'll leave you gentlemen to get etter anquainted. SALLERI: Good day, Majesty. Nozant: Vane Majd [They bth fo. jose gos ot] nosennetc: Good day to you Wow seek: Good day [The ilow the exr=x0% van switzen [wannly shaking his had: Weleome, Mocar. fh ee mush mote of You. Depend on mozart: Thank yoo. {We bows. The Ron goes Mozanr and sattens we lf alon] sausanr: Bee MOZART: Bene SAUIERE: 100 wa you succes with your oper. Mozan-Ilhave it Is going wo be superb T must ell you Ihave atready found the most excelent singer forthe leading part. sautentz Ohe who is that? Mozanr: Her name is Cava, Ktherina Cavalier She's realy ‘Germas, bat she thinks ie will advance her caer if she spor an Iraln name SAUER She’ gui sght Te was my idea. She isn et my prize pupil. Acully she's avery innocent chil. Silly inthe way of Young ing — but, you know, she's only eenty. {Witout emphasis wozan® frees his movements and $A fakes ome easy sep ford to make a five aide] {To audene} Thad kept my bands off Kathesina. Yes! Bu, Leould ot bea to think of anyone else's upon het ~ last of all his onan (ufeecing) You a good flow, Sb! And tat’ joly ltd thing you wrote for me. 3BSsanteRt: le was my pleasure mozart: Let's se if ean remember it. May 1? sALiER: By all meang, I yours MozART: Grazie, Signore [beozanr tones dhe manuscript om 10 the lid ofthe fortpiens where the cannot see ut, st a the tnstrament, and plays sation’ March Of Welcome perfectly from memory ~ at frst lowly, reeling it ut om the reprise ofthe tne, very much aster) “The resis just he same, isn't i (He finishes i with insolent speed.) SALIBEI: You have 2 remarkable memory. MOZART [delighted with hinsel/| Gracie amore, Signore! {He plays the opening seven bart again, bl this time stops on the Interval ofthe Fourth, and soundstage with dspleane | 1k docsn't relly wark, that Fourth = coes itl... Lev try the ‘Thitd above ... [He doer s0 ~ and smiles ‘Ah yes! Third a happily Ah Le repeats te new interval, lading upto it smarly with the well= Ienown miltary-tnonpet erpegeio which characterizes the celeste March rom The Mariage of Figaro, ‘Non pi andra. Then, sing the interval ~ ematively — deity ~ ome mote at tine, in the treble ~ he sel nt the famous tone ital (On and om he plays, imovisng happily wha is virally the march we now now, laughing gleily each time he comes tothe amended interval of ¢ Tord. savtent watches him with an answering sil pained on his ae, Mozanr’s plang grows more and more exhibitions ~ revatng 10th audience te formidable virtoss he, The whole tne he himalf remains aly ebivious to the ofence hes giving. Finally he fishes the March witha series of tumphant flerishes and chords! An ominous passe} SaLteRt: Saute. must go. MozAnr: Really? [Springing up and indicating the keyboard) Why don’ you try a Variation? ‘setient: Thank you, but I must attend on the Emperor. a ozant: Ab SALteRt: Ie has been delghtfl to meet you Mozant: For me too! ... And thanks for the March! [mozanr picks up the manuscript from the top of the foteiane and marches happily ofitage A slight pwse, SALitM moves towards the audience. The lights go down around him mane lo done Was sen = cany ht Tegan 0 hve thoughts of murder? ... OF course not? at last notin Lif. In [Ar it wasa different matter. T decided I would compose a huge ‘wagic ope: something to astonish the world! ~ and I knew ny theme. I would se the Legend of Danaius, who for a monstrcus ezine wa chained 0 ook for eemty— is ead repetely struck by lightning! Wickedly in my head Taw Mozart in that position In reality the man was inno danger a all... Not ye. ‘The Abduction fom the Seraglio [The ligt changes, andthe stage inaantly suns into am eigheeth= ‘century etre, The backdrop projection shows alin of ily gleaming ‘handel ‘The seavaners bringin chairs and benches. Upon them, facing ‘he sudience and regarding i a if watching an opera, st the EMPEROR JOSEPH, VON STRACK, ORSINI-ROSENDERC and VAN [Next f0 them: KAPELLMEISTER BONNO and TERESA SALLERL A lite behind them: CONSTANZE. Behind her: CITIZENS OF vieNwa] satsent: The fist performance of The Abdution from the Seragho “The creature's expression of manly love. as[MozAnr comes on briskly, wearing @ gaudy new cot and ¢ new powdered wig. He stats quickly to the fortepiano, sits it ond mes conducting. SALLEaE sts nearky, next to his wif, and watches MOZART intetl.] He himself contrived © wear forthe occasion an even more vulgar ‘oat than usual. As forthe malic, it matched the coat completely. tor my dear pupil Katerina Cavalicr he had written quite simply the showiest aria I'd ever heard LEsialy we hear the whizzing sale pasages for SOPRANO which end the via “Marten Aller Aven ‘Ten minotes of scale: and ormaments, amounting in sum to a vist emptines. So riiculous was the piece in fact ~ 10: much what might be demanded by a foolish young soprano — that 1 knew precisely what Mozart mast have demanded in rewa for {The final orchestral chords ofthe aria. Silence. No one moves though engaged to te married, he'd had her! knew that beyond any doubt. [Blunty] Tae creatare had had my dating gil. LLoudly we hear the brillant Turkish Finale of Sergio. Greet ‘pplanse from those watching, MOZART jumps to bs fct and acknowledges it. The smPEROR riser ~ ado all ~ and gestures, racic to the ‘sage! in invitation. RATHORINA CAVALIS Ea on in her costume, all phones and flounces, 0 renewed cheering and Tapping. She curses othe wateEROR ~ is hised by sautext — presented to his wife~ curser again to MOZART and, fushed with triumph, moves t9 one side. In the ensuing brief sllnce CONS ANzx rates dou fom the back, willy excited. She fins herself on mozAant, mot even noticing the Eupenon) consranze: Oh, well done, lovey! ., Well done, pusy-wusty! IMozAwr indicates the proximity of His Moje) OME. "Scuse me! [She cuties in embarasomen | MOZART: Majesty, may I present my fiancée, Fraulein Weber JOSEPH: Enchant, Froulein constanze: Your Majety! 6 Mozart: Constanze is 3 singer herself oxen: Indeed? Constanze lemburased| I'm not at al, Majesty. Don't be sily, Wolfgang! {J0xEFH: So, Mozart ~ a good effort. Decidedly that. A good effort. Mozant. Did you telly Uke i Ste? jJosera: Tehoughe it was most interesting, Yes, indeed. A tile ~hew thall one say? [To OxsINI-nosENRERG] How shall one sy, Director? aosennenc [subservienly Too many motes, Your Majesty? Joven: Very well put. Too many nove. mozant: I don't understnd, Jostpnt: My dear fellow, don’t take it hard. There ate in fict ‘uly s0 many notes the ear can hea ia the course of an evening. ‘think Pm right in saying that, aren't I, Court Composer? ALBEE [uncomfortably]: Well yes, I would say yes, on the whole, ex, Majesty. soserH: There you ate. k's clever. It's German, I's quality work And there are simply tco many notes. Do you sec? Mozart: There are just 35 many notes, Majesty, neither more not es, as are req [Pawe] sosten: Ah ... Well, thee i is. [He goes off abuply, followed by rosennenc and Vow STRACK] mozart [ecw 1 he my? sauteRt: Nota all. He respects you for your views, Mozant [nervously | hepe so ... What did. you think yourself ir? Did you cate for the piece at all? SsALEERE: Yes, of course, Mozart ~ at its best its erly charming, Mozant: And at other timer? SAtiear [smowtly], Wel, just occasionally at other times ~ in Katherina’s ari, for example ~ it was little excesive. mozart: Katherina isan excessive gi In fact she's insatiable SALIERI: All the same, as my revered teacher the Chevalier Gl wed t say 40 me ~ one must avoid music that smells of muse aozant: What docs that mean? ALIEEE: Masie which makes one avare too mech ofthe virwaity ofthe compore Mozan: Gluck i absurd shuiert: What do you sy? mozant: Hes talked his ie abou modernizing opera, but crtes people 0 lofty they sounds though they shit marble [eowsrants give alle wee 9 stove] constant: Oh, ease me! ozAnt [baking out No, but too macht Gluck sys! Gick says! Chenier Cluck! .. What's Chevalier? I'm a Chevalier The Pope made me Chevalier when I wa sil weting my bed conrranae: Wolfe Mozaer: Aayway iy ridiculous. Cny stupid farts pores Sausens [bad Such 3s Court Composer? Mozanr: What. [Resising| Ab. On. Ha, Ha, Well! .. My father’s gat again He always tlle should palock my aot ‘Aeully,Tahoulda’e speak at all sate [oobingly: Nonsense. tm jos being what the Emperor ‘would all ative, Won't you intoduce me to your chiang Fancée? MozArT: Oh, ofcourse! Conse this is Herr Salieri, the Court ‘Composer. Fraulein Weber. saiee flowing) Dekighied are Fron cconstanzi [otingh How do you do, Excellency? SALIERE: May Taskwhn you mare? Mozant [nrousiy We have to sre my father’ consent. He's an excellen man ~ wonderfal man ~ bac in some way lite ubbom. satteRt: Excite me, but how ol a you? ozant: Twensyne SALteRr: Then Your Ethers contents scarcely indispensable Constanze te mozaath You see Mozanr [aomfotably: Well no, not indipesble— of corse not 3” SALIBRI: My advice to you i to marry and be happy. You have ound — is quite obvious ~ so tere rae! Cconsrawze: Ta very much [sation kises ConSEANzE's hand. Shei delighted} SALIERH Good night to you both Constanzt: Good night. Excelenyt ‘Mozanr: Good night st. And chank you ... Come, Stanzer [they separ argh He wats te 50) sauieas[o auenel As I watched her wale away on the arm of the Crate, fet che lightning thoughe stake ~ Have het! Her for Kathernal”... Abomination! + Never in my Ife had 1 cmtertned notion so snl Uti change: the eget entry foes | (The vewricette come on merily, asi rom some clebrain ‘Onell «bate; the ahr gl venticotto 1: They're mated SALIER [6 them: What? YeNTIcttio 2: Mozart and Weber~ marsed! Satteat Really? venticerto 1: His father will be frou WenticitLo 2: They did't even wait for his conse! SALTER: Have they act up house? Venricnito 1: Wipplngerstrase VENTICELLO 2: Number twelve Vewriettio 1: Not bad YVENTICILLO 2: Considering they've no money. SALiERE I that realy true? YeNticitio 1: He's willy xtavagant YeNTICHLLo 2: Lives way Beyond Bs mea SALIER: But he bas pop vente #: Only thee Santen [0 theme Why 20 few? Vintteztio t: He's embarassing WeNTICILLO 2: Makes eneYenT1eRLLo 1: Makes enemies vanTicetto 2: Ever Strack, whom he cultivates, SALIERI: Chamberlin rack? VENTICELLO 1: Only last night VENTICELLO 2: At Kapellmeister Bonno’s Unstae light change. MozAR® comes in with VON STRACK. He is high on wine, and holding a glass. The VEN'THCELLA job the ene, but sll tal out of it to Salieri. One of them fille Mozan’s glass} MozAnr: Seven months in ths city and not one job! I'm not 10 be tried again, is titi? Vow sTRACK: OF course not. Mozanr: I know what goes on ~ and so do you. Germany is completely in the hands of foreigners. Worthless wop like Kapelinister Boro! Yow sTRAck: Please! You're in the man’s house Mozanr: Court Composer Salil vow sraace: Hush! mozant: Did you see his lst opers? ~ The Chinney Sweep? - Did you? Vow STRACK: Of coune I did. Mozanr: Dogshit. Dred dogshit VoN STRACK [outraged I beg your pardon! MozAnz [singing Pom-pom, pom-pom, pom-pom, pom-pom! ‘Tonic and dominant, tonic nd dominant frm hereto resurrection [Not one interesting rodulation all night. Sait is a musica dio! Vow sraack: Plese! YENTICHLLO 1 [to SatteRi}: He'd had too much to drink. VaNTICELLO 2: He often h mozart: Why ar Iaians so terified by the Sightest complexity in music? Show them one chromatic paige and they fen! “Oh how sick! "How morbid!” [Faluo) Morbi! ... Nero! hind. No wonder the muse at this cour 50 dreary. vow stRAck: Lower your voice. Mozan: Lower your breeches --. Tha’ js a joke ~ just joke! {Unoberved by hin COUNT ORSINI-ROSENAERG ha entered lipsnge ands suddenly ning between hevenervce,laenng. He wears 4 waitast of right green ik, and an expression 4f ‘perio intrest MOZART 4 him. A pase] (Diewanty, to onsist-nosesnenc] You look like a toad... mean you're gogaling ikea toad [He sige | sosennene [Han7}: You would do best to ere tonight, for your own se, Mozanr Salci has 6ity pupil. Ihave tite. How atm I clive? Tm married man now. Ofcourse I reize you don't concer yourselves with mony in thee exalted cde, All the sme, di you Know behind hr back His Majesty is known at Keser Kexp 1 (Fe gigates wit | von sTnAce: Mazar [He spe} ozant: I shouldn't have sid that, should P... Forgive me. was jst a joke. Another joke! Lan’ help myslt.-» We'e All fiends her, aren’ we? [von sraack nfOnsixt-nosenszncglae thin, Then VOX STRACK leaves abrply, much fd] sozant: What's wrong with hin? nosensanc: Good night. [He tons wo go] sozant: No, no, no~ pleas [He grab he pinwero8's am Your and plese, Gs [Unvilingly Onsiat-nosewnenc gives him his hand. wozaxt kiss i} (tumbiy} Give me a Post, nosnnsanc: That i ot in my power, Mon. ”MozAnt: The Princess Fzabeth i looking for an Instructor. One ‘word from you could secure it for me. nosennene: I regret that is solely in the recommendation of ‘Court Composer Salieri. [He diengageshimsef] Mozant: Do you know Im beter than any mawsician in Vienna? Do you [nosewatne lees. stozan® cal fir hi) Foppy-wops~I'm sick of ther! «.- [Suddenly he gigles wo himsilf, like « child Foppy-wope! Foppy ~ poppy ~ snoppy — topoy ~ hoppy hoppy-wops! ~ wops! (Ard hops ofage) satiens [wathing him go}: Barely one month later, that thought of revenge became more than though (Tivo simultenous shonts bring up the lights. Against the handsome wallpaper stand thee mashed ques: CORSTANZE, flaked om ether se by the vureticett, All thee are quats ata party, and ave playing a game of fore ‘Tio SERVANTS stand frozen, holaing the age wing-hat between the. Two more SERVANTS hod the big table of sweetmeat] VeNTicEtLo 4: Forfeit... Forfeit venricetto 2: Forfeit, Stnzcll You've got to forfeit! Constanze: won't VENTICELLO 1: You Bave to vewricetto 2: I's the game. [These vans unfieeze and set down the furitae. SAL fo the wing-chair an sALiER [to eudence]: Once again ~ believe it or not — 1 was in the 2 same concealing chair in the Baroness Kbrary ~ taking 2 cap tom the litle table|~ and consuming the same delicious desert. vinrrctt.0 1: You lost ~ now there's the penaly! ALR: [to audience A party celebrating the New Year's Eve. 1 was on my own ~ my deat spouse Teres isting her parents in Italy eowstavee: Wel wha... Whats ie? IvewticeLio't matches up an eldfeshioned round ruler from the onean | ‘yanTrettxo 1:1 want to measure your calves. cowstanze: Oooo! “ yewrictto 1: Well? ‘constanze: Definitely not. You cheeky bugger! VENTICHLLO 1: Now come on! Yewricettoa: You've gottolethim, Stanzetl, Al's fiirin love snd Forfeit consTANzE: No it in't ~ 0 you em both buze off! vewricetto 1: If you don’t lee me, you won't be allowed to play aes. constan2e: Well choote something ele. venrictLio 1: Fve chosen that. Now get up on the table. Quick, quick! Allez! [Glegully he sis the plates of sweermeats fom the table) Constanze: Quick, chen! ... Before anyone ses! [The two masked men if the shicking masked gel up on tothe table} viwrtcetto 1: Hold her, Friedrich Constanze: Idan’ have to be heli, thank you! vewricatto 2: Yes, you do: that's pat ofthe penalty [He hold her ankies fly, while VENTICELLO 1 thrusts the ruler tinder her skirts and measures her leg. Exctedly saLieRx reves his position 20 that he can kel in the wing-chair, and wah, CONSTANZE gels delighted, ten becomes ourged - oF pretends tote} CONSTANZE: Stop it... Stop that That's quite enough of that! e[Ske bends down and wies 10 sap hi.) vENTICELLO 1: Seventeen inches ~ knee to ankl! vewticeLto 2: Ler me do it! You hold her! CONSTANZE: Thats not fi VENTICELLO 2: Yes itt. You lott to me too. CONSTANZE: I's been done now! Let me dont vansicetto 2: Hold her, Kat constanze: No! [wanticerto 1 holds her ankles. vENTicEtL9 2 thrusts his heal centvely under her sits. She squal No stop itl... Nol... Us the mide ofthis undignified scene more ant comes rushing ot ~ also masked) Mozanr [ouraged|: Constanze! [They feezr smutent ducks back dwn and sits hidden inthe hair Gentlemen, if you plete, ‘CONSTANZE: Its only 2 game, Wolfe! VaNTICELLO 1 We meant no harm, ‘pon my word MozAnr [stffy Come down off that able plese, (They hand her down. ‘Thank you. Well ce you later. VENTIcELLO 2: Naw look, Mozart, don't be pompous ~ Moznr: Plese exause us now. {They go. The litle man is very angry. He toe off his mask.) [To constanzs] Do you realize what you've Jone? ‘CONSTANZE: No, what? ... [Plustered, she buses herself restoring the plates of sweeieats othe table moran: Jot lt your reputation, dha all You're now a lose ‘constANze: Don't be to stupid. [She foo removes her mask] MozAnt: You are a married woman, for God's ske! CONSTANZE: And what of ie? Mozant: A young wife does not allow her legs :0 be handled in Public Cour’ you at lst have mead your own uly eps? “ MozAnr [raising his voie Do you know what you've done? ... ‘You've shamid me ~ that’s all Shamed me! ‘CONSTANzE: Ob, don't be so ridiculoue! Mozant: Shamed me ~ in front of them! CONSTANzE [adsl rious: You? Shamed you? ... Th here's any shame around, lovey, is mise! Mozawr: Wha: do you mean? Cconsrawzn: You've only had every pupil who ever came to you. Mozant: Thats not ue. Cconsranzt: Every single female pupil! Mozawt: Name them! Name them! Constanze: The Aurnhammer gic! The Rumbeck girl! Kath- rina Cavalieri ~ that sly lide whore! She wasn’t even your pupil ~ she was Salier’s. Which actually, my dear, may be why he has hundreds and you have none! He doesn’t drag them into bea! Mozant: OF course he doesn't! He can't get it up that’s why! . Have you heard his music? Thats the sound ef someone who ‘n't ge twp! A least can do that! consranze: I'm sick of you! MOZART [shouting No one ever said I coulda’ do that! CONSTANZE [busting into ean]: T don’t give a far! T hate you! hate you for ever and ever ~ I hate you! [4 tiny pause. She sweeps] MozARr [helplast: Oh Stanzee, don't ery. Plese don't ery --- Tean’t bear it when you cry. I just didn’t want you to look cheap in people's eyes that’s all. Hete! (He snaches up the ruler.) Beat ime... Beat me... 'm your shve, Stansi marin. Stanzi marini bint fini just and here like 2 hte lamb and bear your strokes, Here. Do it... Bat constanze: No. MOZART: Bat, bat, Mio toro! Constanze: No! mozart: Stamerly wanzery piggly poo! CONSTANZE: Sep it. laugh!onan: Stuney wanzy hal ft Shit her stays and made them ‘oi [She gies dete her Mozart: When they tok ay be ski, Say wane te dhe Constanze: Stop it now! [She sates the ruler and tes him whack with eyo ply} oAnT: Oooo! Oooo! Ooo! Dot pain! Do i agai! Lent mel? at your stinking feet, Madonna! me Ute ess. She whack fm some mores he couches, bt aay Ugh, scarcely loking at im, tvded beeen ters nd lah, MozAer dns his fet wih plese ozarr: Ow! Ow! Ow! (and shen deny Suen, be to erent sand ries out srvohriy.} saviente Akt {The young coupe fete. sation: ~ discovered ~ hay converts His note of igs ito «youn, and etches wang op Fm rap. He pcr ou of te wight sauisat: Good evening Constanze [enberauel) Becllney Mozart: How long have you been tote? Sattent: | was sep unl econ ago. Are you two guaeling? mozart: No, of course not. * * " Constanze: Yeu we e Fie's being very iting Satine! [ing Cao Her, conight ir the time for New Yeae "solsions. trating lovely ladies eannor surly be ane ef yours May Uggs you bingo ech vores fom the Wg MOZART: But why dot we ll got the tbe? Constanze: Hert Sales i ie ght. Bring them bere itl be oun pment sozant: Sana SALIERI: Come now, I can keep yoar wife company. There cannot be a better peace offering than a sorbeto of aniseed constaNze I prefer tangerine SALIERI: Very Well tangerine. [Greely] But if you could possibly ‘manage anseed for me, Id be deeply obliged ... So the New ‘Year can begin coolly for all Ure> of ws. [A powe, sozan hesitates ~ and then bows} ‘Mozant: I'm honoured, Signore, ofcourse. And then Tl play you at billiards, What do you say? satient: I'm afraid I don’t play. Mo2ARr [wih spre]: You don't? ConstANzE Wolfe! would rather play at billiards than anything, He's very good at it mozart: I the best! I may nod occasionally at composing, but ‘billiards never! SALIBRI: A virtuoso ofthe cue Mozart: Bnactly! Ie’ virtuoso’s game! .. [Pe snatches up the rier and reat its if were acne] think T shall write 2 Grand Fantasia ‘for Billed Bal! Tells! Acciacearras! Whale arpeggios in ivory! Then I'l play it myset in public! ... Ml have to be me because none of those Italian charlatans like Clementi will be able to get his fingers round the cue! Scusate, Signore! [He give: «swanky lois of the hand and sats off) consrawze: He's a love, relly SsAtiert: And lucky, too, in you. You are, if T may say $0, an stonishing creatare consrawze: Me? ... Ta very much, SaLibRt: On the other hand, your husband does not appear to be so thriving. CONSTANZE [seizing her opportunity: We'ce desperate, st satieet: What? Constanze: We've no money and no prospects of any. Thats the ruth, SALIERI: I don't understand, He gives many public concerts. ”Constanze: They don't pay enough. What he needs is pupils, ‘userious pupis. is father calls ws spendthrifs, but that’s tain, 1 manage as well as anyone could, There's simply not enough. Don't ell him I talked to you, please. sates [intinatey: This is solely betwee us. Flow ean I elp? CONSTANZE: My husband needs security, sit. If only he could find regular employment, everything would be all right. Is there pothing at Court? anager: Not atthe moment, CONSTANze [harler: The Princess Ekizab:th needs ator. sAtsent: Really? had’ heard CONSTANZE: On: word fiom you and the post would be his. Other pupils would fellow at once sALIERI [looking of: He's coming back CONSTANZE: Plese... please, Excellency. You can't imagine what a difference it would make, saute: We cant speak of it now. constanze: When then? Oh, please! SALIERI: Can you come and see me tomerrow? Alone? cons aNzi: I ean’ do that. saciner: 'm a married man. Constanze: Allthe same. Satisei: When doce be work? CONSTANZE! Afternoons satiEei: Then come at three. consTANzE: I ant possibly! SALIERE: Yes or no? In his interests? [A pause. She testaes~ opens her mouth them smiles and abruply nuns ff) Santen! [to auiena: Sod done it Spokenaloud. Invited hee! What ‘of that vow male in church? Fidelity ~ virtue ~ all of that T couldn't think of that now! [seavAnrs renove the Waldstiden forture. Others veplaceit with ‘two small gilded Bars, cenre, quite clse together. Others gain e which Sale surepisly bringin he od dressing-gown and shawl which lcd before Scene Thee, placing them on the fortpian.] [On the curtine are thrown agin projections of lng windows Sauter: Next aflemoon 1 wad ina fever! Would she com? I nd wo Hes, And if she did, how woul bchave? I had mo ea that ether, Wat Lactuly going to sedice 3 young wi of two months sanding? Pt of te ~ anc of me = wared se baal, Body. bay wa he word The ck kesh One fo be bl snd, He ier died “ “Thee sh was! On the stoke! She'd come. She'd cme! [Enero he right the Coo ls i, ba ft er younger Fe pray cartes «ple pled vith bodied chen ancient (te them few Rm roy, eng wi prod, ands hem ethic} . Te the coon] Gree. Case tnt. Vie, i, va t ine Cook hoor sates diac ht nd pos o th see toy, snking ges. The tau cer fom the Ui aay year unger end hind Kin CONS AME, ering 1 py hat crying proli Constance fateying Exley. Satieat: Bement’ [To vat dnl] Grae [The vauar ges Well Yea bave come constaxtt: should nt have done My husband would be fan ibe Knew, He very jesus mn. ”SALiBRI: Are you a jealous woman? ‘constanze: Why do you ask? SALIERI: Its not a passion I understand ...,You're looking even prettier than you were lat night, if | may tay so, ‘constawze: Ta very much! ... [brought you some manascripts bby Wolfgang. When you see them you'll understand how right fora oyal appointment Wil you lok the, ple, whe sAtiERI: You mean now? ‘CONSTANzE: Yes, I have to tke them back with me. Hell miss them otherwise. He doesn’t make copie. These reall the orginal, SALienr: Sit down, Let me off you something speci, ‘CONSTANZE [sting]: Whats that? SALiERI [producing the box]: Capezsoli di Veer. Nipples of Venus, ‘Roman chestnuts in brandice sugar. constawze: No, thank you. SaLtERr: Do try. My cook made them especially for you. ‘CONSTANZE: Me? ‘sattenr: Yes. They're quite re. ‘CONSTANZE: Well then, Pd better, hadn't I? Just one ... Ta very ‘uch. [She takes one and puts iin her mouth, The tse amazes her} Ob! ... Ob! ... Ob! Ther’re delish! sass lily wang heel: Ate they? ‘sattear: Have another. CONSTANZE [taking 100 more| | couldn’ possibly. [Carell he moves rund bein he, and eas himself onthe chair text to her} satieni: I think you're the moit generous git in the world. coNsraNze: Generous? SALInRI: Its my word for you. | though lastnight that Constanze is altogether too siff a name for cha girl. I shall rechristen et ‘Generos'. La Generis. Then V'll write a glorious song for her ‘under that ile and shel sing it, just for me, 2° constanz: [smiling Lam much out of practic, sie. SALiRI: Le Genero. [He lent litle towands her} Don’t tel me it's going to prove inaccurate, my name fr you. constanzs [cvolly: What name do you give your wife, Excellency? SxLiERI [equally cally: Pm not an Excellency, and I call my wife Signora Siler. IFT named her anything elit would be La Stata, ‘She's a very upright lady. ‘cowstanzt: Is she here now? Id like to meet her. SALIBA: Als, no. At the moment she's visting her mother in Veron. She sts ery sighly out of ter char. SALtERE gently retains er} ‘Constanze: tomorrow evening I ine with the Emperor. One word fiom me recommending your husband as Tutor to the Princess Ezabech, and that invaluable pot isi. Beieve me, when I speak to His Majesty in matters musi, no one contradic me. ‘consrawzt! I belive you SALTER: Bowe, [Sill stn, he takes his mouchoir and dtctely wipes her mouth with it) Sarly service of tha sort deserves Ite recompense in etn? consrawze: How lil? [Slight pewsed sacteats The ste of «is [Sige pewed {Slight poe SsALtEat: Ione seems fie to you. [She los t him ~ thew Kes igh othe mouth. Longer pase} Doce #2 [She gives hima longer kiss He makes to touch her with is heed ‘She breaks off} consranze: | fancy tha’ fies enough Pave} *Satins [arefly]: A pity -.. Ie somewhat small pay, to secur: 2 post every musician in Vienna is hoping for. consranze: What do you mean? SALUERE: Is it not cleat? Constanze: No. Nota all SmLIERI: Another pity... A thousand pies. (Paw. Constanze: I don’t believe it...I jest don't believe ie satisat: What? constawze: What you've just sid satitet (hasty) Tsaid nothing. What did I say? [constanze ges up and Sattent ries jn panic] ‘consTANze: Oh, Im going! ..'m getting out ofthis! SALERI: Constanze Constanze: Let me pss, please. SALiERI: Constanze, fiten to me! Pix a clumsy man. You think ‘me sophisticated ~I'm not atall. Take tre look. 'veno cunning "live on ink and sweetmeats. Inver sce wamen a all... Whet met you lastnight, I envied Mozare from the depths of my soul, Out ofthat envy came stupid thoughts. For one silly secone 1 dated imagine that ~ out of the vast store you obviously poses = you might spare me one coin of tendemes your rich husband docs not need ~ and inspire me ato. [Pause She luphe.} arn, CONsTANze: Mozart vas tight. You're wicked, SALIERI: He said that? ‘CONSTANZE: ‘All wops are performer,” he sti. ‘Be very careful ih that one.” Meaning you. He wa being come of couse. [Abruptly he tres hs back on her} consrawze: Bur not that comic, acteally, 1 mean you're acing a pretty obvious role aren't you, dest? A small town boy. and all the time as clever as cutlets)... [Mock tender) A! — ate you sulking? Are you? ... When Mozart sulks smack his botty. He 2 rather likes it, Do you want me to scold you 2 bit and smack your botty too? [Ske hit him lightly with the porflio. He turns ina fury) ssatinar: How dare you?! ... You silly, common grt (Adirah sien lUcy| Forgive me. Let us confine ous tlk co your husband. He ‘sa brillant keyboard player, no question. However, the Princes: Elizabeth alo requires 4 tor in voeal music. 1am nor convinceé hei the man for dat. 1 would like to look atthe pieces you've brought, and decide if he is mature enough. 1 will study them overnight ~ and yor will sady my proposal. Not to be vague that is the price. (He extend his hand for the ponfoli, and she surrenders it} Good sftemoon, [He tums from her and places it om a cir, She lingers ~ ees to speak cannot ~ aud goes out quickly.) [saurens tums in a forment to the audience) ‘sautent: Fisscol ... Basco! ... The sordidness of it! The sheer ‘sweating sordidnes!.., Worte than sf Td actually done ie! “To be that much in sn and fel so rdiulous as well! ... 1 didn’: deserve any pity from the Old Bargsiner abovel There was no fexuse, If now my musie wat rejected by Him forever, it wat ‘my faulk, mine alone. Would she return tomorrow? Never. And ifshe did, what then? What would 1 do? [Bruall] What would 1 actually do... Apologize profoundly ~ or ery again? «(Crying cout] Noble, noile Salieri)... What had he done to me ~ ths Mozart! Before he came did I behave like this? Did I’ Toy with adultery? Blackmail women? It wae all going —skpping ~ growing rotten ~ because of Wim! [He mover upstage in a fover ~ races out to take the ponfolio ot 3the chair ~ but as if fearful of what he might find inside ithe Wwithdrows his hand and ss instead. A pause. He sontemplates the nasi ying there aif t were a grea confection he is dying to ea, fut dare nt. Then suddenly he snatches at it~ tars the ribbon pens the ese and stares greedily a he mance within. Music sends instanaly, Jay, im the theate, as bis eye falls on ‘the frst page. IC is the opening of the Tovent-ninth Symphony, in A Major} [Over the mui, reading it] She ad said that these were his original Score. Fist and only drafts of the music. Yet they looked like fair copies. They showed no corrections of any kind. 1 ok ome marci a hah mic ay stops 1 was puzzling ~ then suddenly alarming. What was evident was that Mozare was simply transcribing music — [He resumes looking. af the music. Immediately the Sinfonia Concertane for Violin and Viola sounds faintly.) = completely finished in his head. And fnihed a8 most music is never finished [He Tooks up again: the mucic res off] Displace one note and there would be diminishment. Displace one phrase and the structure would fall, (He resume reading, and the music aio resumes: a rvishing phrase from the sh movement ofthe Concerto for Fae and Harp Hire again ~ only now in abundance ~ were the same sounds 1d heard in the library. The same erushed harmonies ~ glancing, collisions ~ sgonizing delights {And he oaks up: again the muse top.) ‘The eruth was clear. That Serenade had been no accident. Very lows the tear, a aint thundery sud is hear acumalating, Tike a distant se} | was staring through the cage of those meticulous ink strokes atan Absolute Beauty! And out of the thundery oar writhes end rises the clear sound of 4 soprano, soging the Kyi fom the C Minor Mas. The aceretion ” fae rand he ie al ey ily dnd ih se a an ig The a rw bg oe tan een tli whilst she ownpoe OF heath going se ie ~ fling te ae ene ls Bl os, rin, png em cpa Ty fr the ness the ad tear ‘rag elie moms hh, mar aetna on olen Frye nth hb 398 ape te pro of mobi fsmses oe ml th ane Te meals © lg, wh dee oon, ag ‘dealin, The sun eas ded oe poe i ¢ mean cont ner mala al Ten Wes sy, od a te “he hfs ei int pe Sac t,he bye pie of mai Fly cc sods essen odes Soy fen isha dbp nde yo fo ssh Got satan Cpa Tow my fit Now fr the Gt ine 1 ny cme ss Adam hi naked hes To fer Tong stan inn someway andes ag Ghee cn putom pyc wihout say sang own he Sila oes note hich em my oor os Woks, Geng Snel Yo fave ee eo ee Jer ahich mon meno have= tins oi thee a ‘Rime ca nserver Cro! You gave me the sie SSE Jou which mon Sonor elena me ate idl You pte me pepo othe compa Cth most men ever no! heal hac mela kn smpetforner meu i oe pon oe] ge Wht iy Jn Uni yee pes vie ih goa sshave laboured long hoursto relieve my fellow men. Thave worked and worked the alent you allowed me. [Calling up] You now ‘ow hard Te workel!~ solely that in the end, in the practice of the art which alone maker the world comprehensible tome, I aight hear Your Voice! And now I da hear it and it says only fore name: MOZART! Spitefil, niggering, conceited, infancine Mozart! ~ who has never worked one minvte to Felp another ‘nan! ~ shit-talking Mozare with his botty-smacking wife! ~ him you have chosen to te your sole conduct! And my only reward ~ my sublime privilege ~ isto be the sole man alive inthis time ‘who shall cleanly recognize your Incamation! [Savagly] Grazie «grazie ancora! [Pause So be it! From this time we are enemies, You and 1! Il not accept it from You ~ Do yew hew? --. They say God & not mocked. I ell you, Man ie not mocked! 1 am not mocked! ... They say the spirit blowets where it lixeth: 1 ell you NO! Ie must list to virtue or not Slow at all Uvelling] Dio Ingiusto! ~ You are the Enemy! I name Thee now = Nemico Eiemo! And this | swear. To my last breath I shall ‘ck you on earth, as far 26 1am able! [He glares up at Gad. To audience] What use, after all, is Man, if not 10 teach God His sons? [Pause Sudden he speaks again to usin the vie of an old mun] And now — Le sips off his powdered wig, cross t the fontepino and takes From its id the od dresing-gour ond shawl which he dicrded when Ihe comdnced us back tothe eighteenth century. These he lips on cover his court cat. Iris agin 1823} before I tell you what happened next ~ God's answer to me ~" ann indeed Constanze’ and all the horrors that folowed = let ims top. The bladder, being a human appendage, snot something. you need concer yourelves with yet. being alive, though barely, 4am at its constant call. tis now ane hour before dawn - when { must dismiss us both. When T return I'l tell you sbout the war “ought with God through hs preferred Creature~ Morar, named Anadeas, In the waging of which, 9f coure, the Cretare had tobe destroyed. 56 (Ute ows tthe audience with malignant shyness ~ snathes a pasty fom the stand ~ an leaves the sag, chewing at it voraiosly. The ‘manscips lie wher he spilled them i hs fll. ‘The lights in the thee come up as he goes] 7ACT a (The tghts go down in the thee ar sauens turns) S ALIEN Thave bean ite the an he coop They ace gig Rosin: hvac ane ond ey compos. Demet whiowaclonr ehh needa, eat across the keyboard a pick out passable subjects for fugue. matt Spal the Eagan pred comnpin, Nowadeyleag appt oe gh CU rest of the public. Per Hah Cs Take [He comes downstage ant sidreses the audence directly "i he yt fy eo adden Ime Not fngive donc frien. wars gol 2 the worl els good. Tat we mont wml Condacs cond os make mes good com Ws Mot eit Cen ‘nothing in the furnace of a. Good on tn tcl Night de Man J Mansi my He seid terrible and thrilling purpoe. The blocking of God in one of his tet mnie. heli ower, ol meicd Mase Freie the word Anion secicine gern Kancemet ot Wotllies bul toic sod ed Mey ‘was the battleground. he nd and Mi ols! ite ew of Hin was a caming Enemy. Wiese thst in loking Hon the word tara ieee swsacten of obracng ded human woud wie Of you wil ee at Sie ham s [He regards the audience maliciously, taking ff his desing gow and owl] I fele the danger a once, 28 Soon as I'd uttered my challenge. How ‘would He answer? Would He strike me dead for my impiety? ‘Don't laugh, I was not a sophisiate of the salons. Iwasa small town Catholic, fll of dread! [He puts on hi powdered wi, and speaks again in is younger voce. We oe back i the eghtenth century.) “The firs ching that happened ~ barely one hour bter — [The dorbell sounds CONSTANZE comes in folloved by a helpless Soler Contane was back, Aen ack tight [ln pre] Signoral CONSTANZE [stiy}} My husband is at-a soirée of Baron van Swieten. A concert of Sebastian Bach. He didn’t think I would enjoy it sALInR: Tee. [Cualy, tthe gogsing vat] anything, Thank you. [The WaLer goes ou. Slight pause] Constanze [futly: Where do Sve go, then? satires: What? CONSTANZE: Do we co it im here? .... Why not? She sts, sill weaning er hat, in one of the Lite gilded upright ‘har Deliberately she fons the rings of her bodies that ome can just See the tops of her beasts, hitches up her silk skis above the kes, 40 that one ca alo ust eth flesh above the tops ofthe stockings, ‘Spreads her legs ad egands him with an open stare) {Speaking soil] Wel? -.. Ler’ get on with i [Bora second satteni returns the stare, then suddenly looks away) satieat [otifiyl) Your manuscripts are there. Plase take them and go. Now. At once. {Pawe) constanze: You shit [She jumps up and matches the ponfolo ring if we require 9SALIERI: Vial Don't runt ‘consranze: You rotten shit! [Suddenly she rans ahi ~ trying ferouely to it at his face. He abs her arms, shakes her violently, and url her othe lor satin: Vial [She feczes, staring np at him in hate.) [Calling 10 the audicne| You see how it was! I would have liked her oh yes, just then more than ever! But now I wanted nothing petty! ... My quareel wasn't with Mozart ~ it was thrgh him! ‘Through him to God who loved him so. [Scomfuly] Amadeus! --Amades! [CONSTANZE picks herself up and ras frm the room. Paws. He calms himself, going t the wble and selecting a ‘Nipple of Vers t et} ‘The next day, when Katherina Cavaliri came for her leson, 1 ‘made the same halting speech about ‘coins of tenderness” — and dubbed the girl La Conrosa. I regret that my invention i love, 2s in ar, has always been limited. Fortunately Katherna found it sufficient. She consumed rweaty ‘Nipples of Venus" kissed me ‘with brandied breath ~ and slipped easly into my bed, Iwararenina comes languily, halfonresed, af fro his bed- tom. Hle embraces he, and helps slyly 10 adjust her peignoir.| ‘She remained there as my mistes for many years behind my good ‘wife's back ~and I soon erased in sweat dhe sense of his ite body, the Creatures, preceding me. LbearHeniwa gives him a radiant smile, and amble off) ‘So much for my vow of sexual virtue. [Slight pause] The same evening I went to the Palace and resigned from all my committees te help the lot of poor musicians. So much for my vow of socal [Light change} ‘Then I went to the Emperor and recommended a man of no talent ‘whatever to instruct che Princess Elizabeth, ry [Therntvanon sont before the vast fireplace, between fe golden mirrors] 4JosePH: Herr Sommer. A dull man, surely? What of Mozart? Pauiene Majety, I canmot with « clear conscience recommend Mozart to teach Royalty. One hears too many soris. Josern: They may be just gossip, SALIERI: One of chem I regret relates to 2 protigé of my own ‘A very young singer. Joseeut: Charman SaLieR1: Not pleaane, Majesty, but ere, JosePu: [sce Let it be Hert Sommer, chen. [He walks down on tc the main sage] I daresay he can't do much harn. To be frank, tno one can do much harm musically to che Princess Elizabeth [He roll vay} [sattent goes. Mozanr enters from the othr sle, downstage. He ‘wears a more natwalooking wig fom now on: on indeed intended to represent his oun hai of light ches, full end gathered at the back with ribbon} Satrenr (10 audene|: Mozart certainly did not suspect me. The [Emperor announced the appointment in his usual way ~ {JosePH (pausing): Well, cher iis ose goes of] satiznt:— and | commiserated with the Foe. [wozanr suns and stares bleatly out frot. saxtent shakes his hand} Mozanr [biterly: Ie my own fault. My father always writes 1 should be more cbedient. Know my plc! ... He'Tsend me sixteen Iectutes when be heats of this! [uo.2anr goe slowly upto the forepino, Light lower] SALTERE [to audione, warching hin]: Te was a most serious loss as fat "8 Mozart was concerned, 6[The vewt1cexs ghd on] va rie8tt0 1: Fistit of pupils harely moves Wenticetto # And nn» hill vo hep! VENTICELLO 2: A boy. " SatteRt Poor flow. [To aden] I, by contrat, prospered This isthe extaordinarytrth If had expected anger fom God = none came, Noe = Intend —inceily ~ in tghty- four sod tighey-fve f came to be regarded snfntely the superior come pose. And thi dept the fact that thee were the two yeas ‘hich Mozart wrote his bet keyboard cones and hh sing Semen [The venice. sd on citer side of santent. MoZAnr sis atthe frp} vewric#tto 1 Hay call the quarets unsurpassed SatteM: They were but no ove bed them, Van ricttio #: Van Swicten calls the concer sublime. Satvem: They were, but no one noted. Istozane ply ond conduc fom the keyboard Fly we hear the Rondo frm the Pano Conceo'n A Meir, KS] {Over ha] The Viennese pected each concerto wih the squeal, of pleasure they sully reserved fora new syle of bonnet Each was played once then toally forgotten I sone was em powered to recognize them for what they were the fn things ‘made by man i the whole ofthe ciphtecsth century =. By Conta my oper were played everywhere and slated by every one! compond my Sonramide for Munich venrictito 1 Reperouly secived! Yesrricetto 2: People faint with plac! Un the Ligh Bex i see he nero Bin cloed Opera Hos, and an ounce toning wp opledng viol. sien, 6 lankedby he vex r1¢ 8111, ts upstage md bows tit. The concen an scaly be hadron} Saige: T wrote 3 comic oper) fer Vienna. La Grote 4 Trfnio venricett 1: The atk ofthe di! Wenientvo 3: The cafe ace buzzing! (Anather Opera we nero i twp. Another end cls Pero. Ages sauemt bows oe] savin [oat | finaly fed my cagie opera Danas, and prodaced iin Pai Venr1eeLt0 1: Stupendous reception! vewricetto 2: The plaudits shake the oof VENTICELLO t: Your name sounds throughout the Empire! venriceito 2: Throughout all Exope! [et anther Oper Hose nd another exci aude, 1681 bows 4 third ime ren he verre no pad i. The once ‘tps. MOZART tes fom the heyboard ard eh saLient sal, cre decy though the ene and eaves the stage} SAUER [lane Te war incomprehensible Alm 2611 were ing pushed deters from eumph co chump = filed my hesd with gollen opinions ~ ex, 2né this howe with golden faite! (The stage tums gold SERVANTS come on crying golden chats uphaliered in golden broad, ‘They place these all otr the wooden lor. ‘The Vaunr appears, a lle oder, dives SALIERL of his sky-blse ‘oat and clothes him instead in fock-cot of gold rain, ‘The COOK ~ aloof wourse a lite older ~ brings ina golden ae-sond piled with more elaborate cakes) 6SALIERE: My own taste was for plain things ~ but I denied it... 1 ‘grew confident. | grew resplendent. | gave sions and soirés, and ‘worshipped the season round atthe altar of Success! [estat eae in hit salon, The VENTICHLLI sit with him, ome on ‘ithe ride) veNriceLto 1: Mozart heard your comedy lst night. VENTICELLO 2: He spoke of it to the Princes Lichnowsky. VENTICELLO 1: He sid you should be made w clean up your own SALAER [taking oma Realy? What charmets these Salaburgers ret ‘ENTICHLLO 2: People are outraged by him, YENTICELLO I: He empics drawing-room. Now Van Swicten is angry with him. SAL1ERI: Lord Fugue? I thought he was the Baron’s lite pet. VENTICELLO 2: Mozat has asked leave to waite ax Italian opera. satiens[brishly aside to audience| Halian operal Threat! My kingdom! YaNTICELLO 1: And the Baron is seandalized satteni: But why? Wha’ the theme of it? IVAN SWEETEN comes om quickly fom wpsue) ‘van sweeren: Figaol ... The Mariage of Figaro! That disgraceful play of Beaumarchai (Ata discret sgn of domicl from sautent, the VENTICELLI slip ‘way. VAN SWIETEN joins SALIERI, and sts on one of the gold ‘irs [Tosatiens] That's all he can find to wate his talent on: a vulgar farce! Noblemen lasting after chambermaids Theie wives dressing up in stupid disguises anyone could penetratein second! When Treproved him, he sid I reminded him of tis father! ...T simply ‘anniot imagine why Mozart should want to sct chat rubbish! [Mozant enters qickly from xpsege, sconpanied by VON STRACK. They join sALIER1 and VAN SWiETER,] Mozant: Because | want to do a picce abot ral people, Baron! ‘And T want to se it ia a teal placel A Boubid ~ because that ‘me is the most exciting lace on earth! Underclothes onthe floor! “ Shee sill warm fom womans body! ven a pisipot brimming under the bed! ‘van swine [ouraged: Mozart! Nozan I want life, Biron. Not boring lends! ‘Vonstaacn: Her Sai’ recent Dens was legend and tha dis ‘not bore the French MozAnt: Is imposible to bore the French ~ except with elif! Yanswieren: Thad aimed, now that you hid joined our Brother- hood of Maons, you would choose more devaed themes ozAns [impatnt|: Oh elevated! Elevated. The only thing + rman should elevate iis doodle van swrerEn! You ae provoking, se! Has cverything tobe joke ‘with your? MOZART [deperae: Excise language, Baron, boreal... How ct ‘we x0 on forever wid thee gods and heroes? ‘Van swiiT5N [pasionsly: Because they goo forever that's why! “They epresent the cemalinus. Opera sheretocnnable vs, Morar = you and me just a well atthe Emperor. Ie san aggrandizing ae celebrates the eternal in Man and ignores the ephemera) The goddes in Woman and not the lundtes. ‘von stack: Well i, st. Exactly! mozaxs [imitating his dal Oh well id, ys, well sid! Exactly! [Teall ofhon} | don’ understand you! You're all up on perches ‘butit doe’ hide your aschole You don't give sic about gods and heros! Ifyou are honest cach one of you ~ which of you {mnt more thome wit his haidreser than Heres? Or Hora? [Te satteni] Or your sopid Dans, come to tha Or mine ~ rine! ~ Idomeneo, King of Crt! All thowe anguished antiqued ‘They're all Bore! Bors, bogs, ore! [Sully he springs wp and Jump onto chai, lie a erator. Declaring i} All serious oper Werte this entry ae boring [The tr and oo atin in shocked amazemat. A paw. He gees his ite gil, and thn jumps dun again} Look at wt Four gaping mouths, Whats pertet quartet! ' love to write i ~ just this second of time, thi ow, a you ate! Here 6s(Chamberlain thinking “Impersinent Mozart: 1 must speak to the Emperor at once!” Herr Prefect thinking “Ignorant Mozart: debasing opera with his vulgarity” Here Court Composer thinking “German Mozart: what can he finally know about music?” And Herr Mozart himself, in the middle, thinking “I'm just 2 good fellow. Why do they all disipprove of me?” (Exaedly to VAN swirten] That's why operaisimportant, Baron. Becauset'srealee than any play! A dramatic poet would haveto put ll those thoughts down one after another to represent this second of time. The composer can aut them all down at once and sil make us heat cach one of them. Astonishing device: Vocal Quartet! [More and more excited) .. 1 tell you T want to write a finale lasing half an hour! A qurte becoming 4 quintet becoming a sextet. On and on, wider and wider ~ all sourds mukiplying and rising together ~ and the together making + sound entirely new! ... bbet you that's how God hears the world. Millions of sounds ascending at once and mixing in His ear to become an unending ‘music, unimagnable tous! [To Satieat] That's our job! That's out Job, we composers: to combine the imer minds of him and him and him, and her and her ~ the thoughts of chambermaids and. ‘Court Composers ~ and turn the audence into God. (Pause. SALIERI stares at him fascinated, Embarased, MOZART ‘lows «raspy ond gigles| Pm sorry. 1 talk nonsense all day: is incurable ~ ask Stanzeel [To van swreren] My congue is stupid. My heart isn't VAN SWIETEN: No. You're a good fellow under all your non sense: I know that. He'll make a fine new Brother, won't he, Saber? SsAtiERI: Better than I, Baron. YVANSW1ETEN: Jasttry, my fiend, to be more serious with your gifts (He smiles, prewes MOZART’s hand, ond goes, SARLERE rie | satis: Buonayprame, Moca. Mozant: Grant Signore [Rounding on vow st RACK] Stop frown ing, Herr Chamberlain. Pm a jackass. I's eaty to be friends with a jackass: just hake bis “hoof ey He forms his hand int “of”. Warily VON STRACK takes it ~ thes springs back as MOZART Bray loudly like « donkey] MozARr: Hee-haw! ... Tell the Emperor the opera's finished. Von stack: Finished? Mozanr: Right here in my nodile, The res’s just scribbling ‘Gooddye. von s1xack: Good-day to you. Mozanr: He's going t9 be proud of me. You'l sce. (He gives his “lows of the hand and goes out, delighted with himself] VON stmacn: That young man relly is satin (Bandy): Very lively. VON STRACK [exploding]: Intolerable... Itlerable! IvoN STRACK fieezes in «posture of indignation} sara [to eudienc|: How could Istop i? -... How could | block this opera of Fagaro?... Ineredible to hes, within six weeks the Creature had finshed the entire ore! Tonsini-nosennene butler in] nosentenc: Figaro is complete! The fist performance will be on ‘May the first! SALIERE: So soon? osENaERG: There's no way we en stop itt [Aslight pus.) SAtiER! [spl]: 1 have am idea. Una pica idea! nosentenc: What? SALIBRI: Mi hx det che ¢® um ballets nel torso ato? nosenrenc [puzzle Si Vow staack: What docs he sy? SALIERI: E dind ~ now @ vero che mpertoe he probit i balleto elle ve opere? nosenrene [relising|: Us balleno ... Abt SALIER Precsaente, ROSENEERG! On, copuca! Mache merovglia! Peete! [He laugh in dkligh| Verament ingegnoso! oN $1RAcx [irtaed|: What ist? What is he suggesting? SATIERI See him a the theatre. onosewpenc: Of course, Immediately. I'd forgotten. You are brilist, Court Composer satin: I... Thave sid nothing. [He moves way upstage] [The light begins 1 change, dining down] von stack [very cos]: mut tell you that I resent this extremely ‘Mozart is right in some things. There is far too much Italian MozanT: Majesty, this is nota ball Ie is part of a wedding feos: entirely necessary forthe sory. soseeut: Wel, it certainly looks very odd che way its can't sy T ike i. Mozant: Net do I, Majesty. JosuPHt: Do you like it, Rosenberg? oseNaenc: It's not a question of Iking, Majesty. Your own lw decrees it. gosern: Yes, All the same, this is nonsense. Look at chem: they're like waxworks up there nosensenc: Well, not exactly, Majesty. joserit: I don't like waxworks. Mozart: Net do I, Majesty. Joseeit: Wel, who would? What do you say, Salieri? SaLient: Kalant ate fond of waxworks, Majesty. [Powe] Our religion is argely knsed upon then. soserit: You ate cattive again, Cou Composer. VON STRACK [inervening ceamily: Your Majesty, Count Rosenberg, is very worried that if this music is pue back it will create the most unfortunate precedent, One will have thereafer to endure hhours of dincing in opera, 2 soe think we can guard agin that, you know, Chambers, Teal think we can guard psn hoor of dancing. [To OnsINt~ toseuaenc] Pee estore Herr Mona's moc, osenpene: But Majery, mus isis ostrich fang: You wil blige me, Rosenberg! wish to hea Mera une Bo you unesand ne nosennenc: Yer, Majey. [czans explodes wih oy, amps ovr «car and hows hiself ot jostrw's fet] mozant. Oh Gady | thank your Majesty! [Me ise the surenon's ho xara, a tir ft meting} Oh thank you unk you —thanle you Sie forever! soSeeu [withdiing hand Yes, yes ~ very good. A lee les tan, I beg you! mozant [luke Pxcwe me [The rurenon ries. All follow it) soseea: Well Thee i ‘Tus Fins PERFORMANCE OF Figare [The theatre glows with light forthe fist performance of COURTIENS and €1T1ZENS come in sf. ‘The EmrEROR end his Cour resume their seats and the ethers quickly take this. In he fon row we note KATHERINA CAVALIERI, nd sequins, and KAPELLMLISTER BONNO~ SECONSTANZE andthe VENTICELLE-Allof them sae ou, art were the opera they have come tae: people of fachion down front; poorer pape crowded ino the Light Bex upstage SSALIERI cose at he speaks to where wo chair have bee placed side by side apart fom thers, on the lef, form his box. On the char upaage its Is good wife TERESA ~ more sathesque than ever] [10 auiene}: And so Figaro was produced in spite ofall my ncfforts [st in my box and watched it happen. A conspicuous defeat for me. And yet I was strangely excited. (Fainly we heor Figaro singing the ene of ‘Non pd andra’. The sage audiences bell delighted they sale ovafront a hey watch the (nse) acon My March! My poor March of Welcome—now set to enchant the world forever! [lt fades. Applawe. The exten rss, and wid him the audience, to denote an Intermission, :OSB9M grets KATHERINA and BONNO. ORSINI-ROSINBERG atd VON STRACK go > SALIERI' box] nosennene [@ satieni|: Almost in your syle that last bit- But ‘more vulgar of coure, Far mote obvious than you would ever be. VON STRACK [drawing]: Exicy! [A bell rings for the erd of the Intermission. The emPEROR returns quickly to his seat The audience sits. A pause. All ook out font, wemoving) ‘sautent [raptly and quit: oadiene}: Teembling, heard the second ‘act [Pe] The restored third act. (Pause | The astounding fourth ‘What shall I say to you who will one day hear this ast act for yourselves? You will because whatever else sll pass away, this [Pain we hear the solemn closing ensemble from Act IV of Figaro, "Ak! Tutti coment. Saree cos] {Over this] The scene wa. night io a summe: garden. Pinprick stars gleamed down on shaking simmerhouses. Plotters glided ‘behind pasteboard hedges Tsaw a woman, dressed in her maid's clothes, heather husband utr the fist tender words he has offered her in years only because he thinks she is someane ele. Could one catch arealer moment? And how except ina net of pure artifice? “The disguise of opera had been invented for Mozart. (He can barely look ou at the ‘tage |The final reconciliation melted sight. [Pause] ‘Through my teas I saw che Emperor yaven [oseps yewns. The music foes. There is scat applause. Osarn cand the COURTIERS follow suit. MOZART bows] JosnPHt [coll]: Most ingenious, Morar: You are coming slong ” nicely ..1do think we mast omit encores a future. Terally makes things far too long. Make a note, Rosenberg. ROSENBERG: Majesty. [wozane lowers hit head, crushed.) Josten. Gentleman, good night to you. Strick, attend me, [Losees goer out, with VON stRack. Director ORsint— ROSENBERG gives MOZART one triumphant lok and follos. SALIERL mode to hit wife who leaves seth the audience. Only CONSTANZE linge for « second, then she 10 goes. A pase MOZART and SALIEN ae lft alone: saLtER1 deeply shaken by the cr, MOAN deny ap byt pin, He oes ad ext to SALIERL ° flow]: Here Sale Yer Mozanr: What do you think? Do you thik I am coming along nicely? ‘satteat (moved: think the picce i... extracedinary. think it is ‘marvellout, Yes. [Pawse, wozan tw to him.) ‘MozAnrr: Filtell you what iis, 1s the best opera yet written. That's ‘what i i And only I could have done i. No one else ving! [sautens turns hit head sf, as ihe ha: been slapped. Moz a2 ries and wats away. The ight changes, Tbe VENTICELLI mush om. SALIERL and MOZART both feze} venriceLto 1: Rosenberg is friows ‘vawrrceLto 3: He'll nver forgive Mozart. vewricetto 1: Hell do anything to get back at him! SALIERI [rising: to audincel: So it wasn't hard co get the piece ‘canceled. Imaw to it through the person ofthe resentful Director that in the entie year Figaro was payed only nine times! ... My defeat finally tuned into a victory. And God's response to my challenge remained a inscrutable as ever .. Was He taking any noice of me at al? [bu2 ANT breaks hi fieeze and comes downstag.| MOZART: Withdrawn! Absolutely 00 plans Eo is revival 1s‘satrenr: I commiserate with you, my frierd. But ifthe public docs not like one's work, one has t0 2ccopt the fact graceflly (Abide, to audience] And certainly they den’. venriceLto t [complain I's too complicated! vowticeLto 3 [complaining]: Too tiresome! YenTicELLO 1: Allhose morbid harmonies! VENricetto 2: And never a good bang atthe end of songs s0 you know when to clap! [The vantrcentr goof] SAtient [0 audience]: Obviously I would rot need to plot too hard againsthis operain future. Lmust concentrate on the man. Idecided to see im ar mich as posible: to learn everything I could of his ‘weakness. [seavansrs again bring om the wing-chie.} ‘Mozawt: I'l goto England, England loves music. Thats the answer! sautent [to audience: We were yet agin in the library of the Baroness Wakistidren: that room fated 0 be the scene of ghasly| encounters berween us. Again, too, the compensating crema al mascarpone [Hest inthe char and eat greedily) sozant: I wasthere when Iwas a boy. They absalutely adored me, T had more kisses than you've had caked... When I was a child, people loved me. saticnt: Perhaps they will asin, Why dos’ you go to London and ty? MOZART: Because Ihave s wife and child and no money. I wrote to ‘Papa to take the boy off my hands just fer afew months o T ould {go ~ and he refused... He's a bitter ran, of course. After he'd 6 finished showing me off around Europe he never went anywhere himself, He just stayed op in Salzburg year after year, Kissing the ring of the Farsbihop and lecasing me! -.. [Confidential] The real ching i, you se, he's jealous. Under everything he’s Jealous of me! Hell never forgive me for being cleverer chan he i [He leans excely ever satien's chair like a naughty child.) TT tll you a secret. Leopold Mozart is just jelous, dried-up old turd .. And I acually detest him. [ie giggles gully. The Ven riCELLt appear quickly, and address SALIERL, MOZART freezes] vexricetro 1 [tlemml/: Leopold Mozart ~ vexticetto 2 [solennl/|: Leopold Mozart — venricHLto 1 and vENTic#LLo 2: Leopold Mozart is dead! [They go off movzant resis. A long pau] satibat: Do not despat. Death i inevitable, my fend. Mozant [desperael]: How will I go now? SALIERI: Whit do you mean? ‘MozAaT: Inthe world. There'sne one ce, Noone who understands the wickedness around. [can’t sei! .. He watched for me all my life ~ and I betrayed him. satient: No! oz ant: [talked against him, satieat: No! MoZARe [ditresed]: [married where he begged me not. Heft hi ‘alone. I danced and played billiards and fooled about, and he sat bby himself night affernight in an empey house, and no woman to cate for him [sautens rise i cower} satin: Wolfgang. My dear Wolfgang. Don't azcuse yourself! [Lean upon me, ifyou eare to... Lean upon me [sautens opens his are in a wide gesture of patemal benevolence MOZARr approache,, audi altos! tempted 1 surender 1 the em brace. But at the ast noment he avoid it, nd breaks away down font, 0 fall om his bees.)mozant: Papel SSATIERI [0 eudene|: So tose the Ghost Father in Don Giovanni! [he tev svi che whith open the Overture we Done Giovanni sound trough the theatre. MOZART seems to quail under thom, a he tres ot ‘Sion On the backire inthe Light Box appears the silhouete giant ‘lack figure, in cloak and trcome hat. Ic extends ts ams, menacingly and cengalingly, towards its begeter] ‘SALIRI: A Father more accusing than any in opera. So rose the igure ‘of a Guilty Libertine, cat ito Hell... 1 looked on astounded fom his ordinary life he mace hisat. We were both ordinsry men, Ihe and I. Yet he from the crdinary created legends ~ ané I from legends created only the ordinary. [The fqure fades, sauient stands over the kneeling MOZART] (Could I not have topped my war? Shown him some pity? Oh yes, ‘my fiends, at any time if He above had shown me one drop of it! Every day Iet to work I prayed ~ Tsil prayed, you under- rand ~ ‘Make thie one good in my ear! jst thi one! Ove!” But ‘would He ever?... Theard my musi caked in convention ~ not fone breath of spitt to life off che shallows. And I heaed his ~ [We hear the exquisite ran ofthe tract "Soave iil vex from Cosi Fan Tutte] = the spirit singing through i unstoppable to my eats alone! {To God, in anguish "Grant this tome... Grant his tomel [Aso] "No, no, no: I do not need you, Salieri! Ihave Mozart Bete for you to be silent!” Hahahatcha! {The must cuts ofa he sages savagely.) “The Creatures dreadfal giggle wat the laughter of God. {had to cat, But how? There was only one way. Strain. Reduce the ‘man to destiution, Starve out the God, satis (to mozanz]: How do you fare today? Mozant: Badly. Ihave no money, and no prospect of any. sAtient: Itwould not be too hard, surely. {Ligh up om the Place of Schénbrunn. The BmPEROR stands i he “Light tos, im is golden space) JosePH: We must find him a Pos. SALIERI [to auden|: One danger! The Emperor [sautens goes upstage w Jose?) ‘There's rothing available, Majery. JOSEPH: There's Chamber Composer now that Gluck is dea. Satta [shocked]: Mozart to follow Gluck? JosePH: won't have him say I drove him away. You know what ‘tongue he as. SSALIBRI: Then grant him Gluck’s pst, Majesty, but not his salary. "That would be wrong. ‘Jose: Ghck got two thousand forint 3 year, What should Moeart ge? ‘atten: Two hundred. Light payment, yes, but for light duties. josteit: Perfectly fir. I'm obliged to you, Court Composer. ‘SaLeRt [baving!: Majesty. [Lights down a litle on yoseen who sill stands there. sALIER returns to MOZART.) [To audince| Easily done. Like many men obsesed with being thought generous, the Emperor Joseph wat quintesentially mean. [oz nr knels Before the ENPEROR.] JOSEPH: Here Mozart. Vows nous ates homer! Light out om the Court. woz as tures and walks downstage) ‘damned neal! Netenengh tkerp 4 mosie i cheese or a week! SALUERI: Regard it a a token, ca Here Mozanr: When I was young they gave me snuff-boxes, Now i's ”tokens! And for what? Pom-pom, for fireworks! Twang-twarg for comedanzes! sAtient: I'm sorry its made you angry. Pd not ave suggested iif Td known you'd be distressed. Mozanr: You suggested i? SALIERI: [regret Iwas not able to do more Oh... forgve me! You're a good man! I sce that now! truly kind man ~ and I'm a monstrous fool! {He grasps sation’ hand] 1: No, please MOZART: You make ne ashamed ... You excellent mant SALIERI: No, n0, n0,r0, no, ~'l vous plat A lite les enthusiasm Veg you! [wozAnr laughs delighedly at this imittion of the EXCPEROX SALIERE joins in. MOZART suddenly doubler over with stomach camps. He grow] Wefgong! Whar is ozant: I get cramps sometimes in my stomach, SALA: I'm sorry mozart: Excuse me ... i’ nothing relly SALtERI: I wil ce you won again? MozanT: OF course. SaLita: Why not visi me? mozart: Iwill... promise! SALIERI: Bene mozant: Bene, SALIERI: My friend. My new fiend, [peozanr giggles with pleasure and goes off A pause.| [To audience] Now ifever was the momert for God to crush me. [waited ~ and do you know shat happened? I had just ruined ‘Mozat’scareerat Court: God rewarded me by granting my dearet wish! [The venricerti come on) vewticetto 1: Kapelimeister Bonno, venricetto 2: Kapelmeiser Bono, ry vantic#Lto 1 and vevricetzo 2: Kapellmeister Bonno is dead! [savteat opens hit mowh in srprie venTicHLto 1: You a appointed — venricstro a: By Royal Decree ~ vanticetto 1: To fil his pace [ight ll up on the eatPEROR atthe back, He is flanked by vow STRACK and OMSINI-ROSENAERG, standing like cons as at ther fs appeernce.| Joseen [fomally as SaLt#R tums and bows w hin]: First Royal rd Imperial Kapellmeister to our Court {The vewr1cetL1 applaud venTIC#Lto #: Bravo, vENTICELLO a: Bravo, ROSENBERG: Evviva, Salieri! vow stRACK: Well doxe, Salieri! Josueu [wannly}: Dear Salieri ~ Thee iis! [The lighs go dows on Schonbrunn. In te dark the emPROR ‘and his Court leave the stage for hela ine. SALLERE turns round, ‘alarmed ) sAtiER: [fo audience: I wasnow truly alarmed, How long would Igo ‘unpunished? VENTICELLO 1: Mozar: looks appalling VeNriceto 2: It mus be galing of course VeNTICELLO 1: | hear e's dosing himself comtantly with medicine, SALIERL: For what? vinricetto 2: Envy, 1 imagine (rsh green tees appear om the backitop. The light changes to yellow, fuming the Blue surround nt rch verdont gee,Mozant and constasze enter am-in-am. She is palpably pregmnt land wears 4 poor coat and borne; hit clothe: are poorer t9. SALTER! promenades withthe vesicetit] SsatieRt: I met him aext in dhe Prater Mozanr [to satin: Congratulations, sit SsaLitai: I thank you. And to you both [7 audience] Cleary there ‘was a change forthe worse. His eyes gletmed, oddly, lke a dea’s when the ight cates. [To MozaRr] I hear you ae not well, ay fiend [He acknowledges cOnsTANZE, who erties to him] mozant:T'm not. My pains say with me sAatient: How wretchod, What can they be? MoZant: Also, Islesp badly have -., bad dreams, Constanze [warmiatly]: Wolter SatieRt: Dreams? Mozanr: Always the same one ... A figure comes to me cloaked in prey ~ doing thi [He beckons slowly) Te has no face. Just grey “ikea mask.» [He giggles nervously.) What can ic mean, do you + think? 2 SALItRI: Surely you do not belive in dreams? MazAnt: No of couse not ~ really! SsaLtea1: Surely you do not, Madame? consrawze: I never dream, si, Things are unpleasant enough to ‘me, awake, TSALIER: bows} Mozanr: I's all fancy, of cours! constanze: If Wolfgang had proper work be might dream les, First Kapellmeister Mozant [embarrased taking her am Starz, please! ‘ir. Come, dearest. We are well enough thank you! [Pushand and use go of} venticento 1: He's growing freakish VENTICELLO 2! No question Excuse us VENTICELLO 1: Grey figures with no faces! SSALIER: [looking alr har: He broods om his ther too much, [fancy ‘Alo his circumstances make him anxiows vENrIcELLO 1: They've maved house agai, VENTICELLO2: To the Rauhenrtingasee. Nimber nine hundred sd seventy. VENTICELLO 1: They must be desperate VENTICELLO 2: I's a eal sm. SsAtiERI: Docs he eatn any money at all, apart from his Post? veNricetzo 1: Nothag whatever, VENTICELLO 2: [hear he's starting to beg, VENTICELLO 1: They say he's written levers to twenty Brother ‘Masons satieni: Really? YVENTICELLO 2: And they're giving him moncy. SALIER [1 audience]: OF Course! They would! [had forgotten eae ‘Masons! Naurally they would relieve him how stupid of me! ‘There could be no fanally starving him with the Masons there to help! As long as he asked they would keep supplying. his wants ++ How could I stop i? And quickly! veNTicetto 1: Lord Fugue is most displesied with him! satin: Js he? [A tug golden emblem decnds,encrsted with Maton symbols, Enter VAN SWIETEN. He is wearing the ritual apron over his sabe clothes. At the same time MOZART enters fom the lf. He to wears the apron. The to men easp hands in ratersal greeting. a3VAN swIETEN [zravely]: This s not good, Brother, The Lodge was not created for you to beg from. mozant: What else can I do? YVAN sWIETEW: Give concerts, 26 you used to do, Mozarr: 1 have no subscribers let, Baron. 1 am no longer ‘Gahionable VAN SWIETEN: I am not surprised. You write tasteless comedies which give ofenee. I wamed you, often enough sozant [humb'y: You did. 1 admit it, [He holds his stomach in pein) YVAN s¥1ETEN: willsend you some fagues of Bach tomorrow. You ‘an arrange those for my Sunday Concer. You shall havea small fee Mozawr: Thank you, Baton, [wawswreren nods and goes ou. sativa tps forward, He again swears the Masons apron] showing afer vax swrereN} I camot live by atranging Bach! SAaLiUat[secstlly: A generous fellow. MOZART: All the same, ITI have to do it. IF he were to turn the Lodge against me, I'd be finished. My Brother Masons virtually keep me now... Never mind. Til manage: you'll ee! Things ate looking up already. I've had a marvellous proposal from Schikaneder, He's2 new Member of this Lodge. SALIERI: Schikanedet? The actor? MOZART: Yes. He owns a theatre in the suburbs, satteRt: Wel, more of # misichall, surely? Mozanr: Yes... He wants me te write him a Vaudeville ~ something for ordinary German people nt that a wonderful idea? e's offered me half the receipt: when we open, SaLtear: Nothivg in advance? ‘Mozant: He sil he couldn't afford anything. know it’s not much ‘of an offer. But a popular picce about Brotherly Love could celebrate everything we believe as Masons! ‘satin: Ie ceranly could... Why con't you put the Masons into i % -MozAn7: Into an opera? ... F could’! [sattens laughs, 0 indicate tha he was simply making a joke.) All he same ~ what an idea! Satie [esmesly]: Our ritual ae secret, Wolfgang. MOZART: I needn't copy them exactly. I could adapt them a litle. Satie: Well... It would certainly bein a great cause. Mozart: Brothedly Love! Satis: Brotherly Love! (They both tend lok solemnly a the great golden emblem hanging ‘at their back | [Wamiy] Take courage, Wolfgang. Is glorious idea MozAnt? ei 2 I relly i SALIERI: Of course say nothing all it's done, Mozant: Not a ward SALIERI [making a sig: closed i]: Secret! Mozanr [making a salar sig]: Secret! SALIERI: Good. (He saps out of he scene downstage.) {To audience And if that didn’ finish him off with the Masons — nothing. would! [The gold emblem withdrows. We hear the merry dance of Monostane and the hypnotized saves from The Magie Flate: ‘Dat Klinget +o hnerlich, Das Kling: so schon!” To the trklng of the glckenspel SERVANTS Bring in a long plain table Tooled with manuscripts aad boates. Ie also bears a plain uptumed stool. They place this in the wooden area head-on tothe audience. At the same tine CONSTANTS ‘appears wearily. from the ‘ack, and enets this sparents the Rauhensteingase. She wears & sufed apron, indicating the advanced state of her pregnancy. Simultaneously apstege left, to other SERVANTS have plazd the lil gilded tae bearing a Toaded cake= stand and three of the gilded cits fom SAttunt's resplendent Sales, We now have in view the two contrasting aparment ‘As soon as the emblem withdraws, the VENTICELLY appear to SAUER 85veNTICELLO 1: Mozart is delighted with himself! VENTICELLO 2: He's writing a seeret oper! YENTICELLO 1 [aossy]: And won't ell anyone its theme, VENTICELLO 2: Is relly t00 tiresome. [The venrracents go of} satiear: He eld me. He told me everything! ... Initiation ‘ceremonies. Ceremonies with lindfaks. All rials copied from the Matons .. He sat at home preparing his own destruction. A hhome where lie grew daly more grim. {He goes upsge and ss om one of hs gilded chairs, devouring 2 fake. MOZART also sts at his ta, wrapped in ¢ Banke, and sats to write music. Opposite him CONSTANZE sits on « sol, wrapped ina shawl) CONSTANZE: I'm cold... Pm cold all day ... Hardly surprising since we have 20 Brewood. mozart: Papa was right. We end exactly as he sid. Beggars constawze: Ill his aul Mozanr: What éo you mean? CoNsTANzE: He kept you 4 baby all your life ‘MOZART: I don't understand ... You sways loved Papa, Constanza: Id? mozant: You adored him. You told me s0 often, [Slighe pause consrawze (ft) | hated him, mozant: What? CONSTANZE: And he hated me MozAn7: That's absurd. He loved us both very much. You're being extremely silly now. constanze: Am Pr MOZART [arly]: Yes, you ate, litle-wife-of-my-hear! Cconstanzs: Do you remember the fie we had ast night ‘because i¢ was 0 cold you couldnt even get the ink wet? You Sih Whats Base’ ~remember?" Whats Baz! Allehor od paps going up! Well, my deat, chose old papers were just all your father’ leery, tha’ all ~ every one be wrote since the day we seni mozanr: What Constanze: Every one! All the letters abeut whats ninny 1am ‘whats bad howskeepce I aml Every one! mozant [eying ou Stasi Constanze: Shion hin! ozant: You bic! ConSTAN2e farage/: Atleast t kop war! What cle will do ‘hae? Pethaps we shold dance! You love o danes, Wolfe lets dance! Dance to keep warm [Grandly] Waite me a contedanze, “Mozart! I's your job to wite dances, ii Ulysse tris dancing oughly rou th rum ike «demented sat 1 the ue of‘Non pi end} Longing wily} No pid anda, fale amorso [Nate egtomo dint pnd! Mozanr [svicking| Sop i! Stop it [He seas her] Stanai-marint ‘Marini-bi! Don'eplense! Please, ples, pee beg you. Look there's kis! Where's it coming from? Right out ofthat cornet There's another one ~ all wet, al sloppy wet coming sight to youl Kis Kshs [She pushes hin evey. CONSTANZE dances. MOZART cates fer. She pushes Him ey Constance! Ger of! [Paue ozant: T'm fighted, Stnc. Something awfuls happening 1 CONSTANZE: [cant Bear it can't Bear much more of thi Mozant: And the Figur’ ike this now ~ [Beckoning foe] “H ‘Come here Here! I fc sill masked iil! Becomes eer said reser to me! Shit om hi C7‘CONSTANZE: Stop it, for God's sake! «.. Stopt... I's me who's ‘ightened ... Met -.. You frighten ms... IF you go on ike this Vil eave you. I swear i. MozAnt [hocked} Sana Constanze: Tmean it. 1 do... [She guts her hand 1 her stomach, «as ifin pain) Mozart! l'm sorry ... Oh God, I'm sory... 'm sorry, I'm sorry, rm sorry! ... Come bere to me, litle wife of my heare! Come ‘Come [He fnels and coaxe: her to him. She comes alfrelutantly, half willingly} mozant: Who am 1... Quick: tell me. Hold me and tel who fam, ‘consTaNze: Puny-wosy, Mozart: Who ese? CONSTANZE: Misowy-pomy. ozanr: And you're squecky-pecky. And Stanzi-manzi. And Bini= i [She surenders] constanzs: Wolf-polE! mozanr: Poopy-peepe! (They ete consranze: Now don’ be sup ozans [insistent like «il: Come ox ~ dot. Do it~ Les do it Poppy! hey playa private same, gradually ding fae, on hr hee constanes: Poppy. mozant [changing i: Pappy Constanze (pring: Pappy- mozant: Papp ‘Constanze! Pappa. MozanT: Pappa-pappa! Constanze: Papps-papal MozAnz: Pappe-papprsapps-pappst Constanze: Pappo-pap2-papps-pepp [They rab nose "ocenien: Popo-papp-paps ppp! Papp pape apps app! {She muddy cries out in anes, an thes her stomach} Mozant: Stan! «= Stans what isi (The venice hary ta vewticatio 1: New! Vinertentto 2 Suddenly! vewricetto t She's eon delivered vintcetto 2: Unexpectedly venttettio 1: OF a boy Ventiestio 2: Poor litle imp. Winrictito 4: To be bor vo that couple venricetio a In that room Yenicatio 1: With that money. Yenricnito a: And the father baby hime [During the above, CONSTANZE hat slowly tien and divested Irs of hers apron ~ thereby cessing fe pregnant. Nove ‘he ns sory and walks sy apse and oft. MOZART {fils her fora foo sep, alarmed. He hls] venricrito #: And now 1 eat” Wenricetto 3: Now! hear~ entero 1: Something more hes happened. venvicetto 2: Even stranger Ibcozanr picks up a btle ~ then moves swifly into satsear’s room| mozant: She's gone! SAUER: What do yoo mean? [The venice go of. MOZART moves up to saLtERrs sparen, Holding his ote, and sts on one ofthe ged chs} ozan Sazers gone away Just fora wile shesys She's taker the baby and gone to Baden. To the spa I wil con ws the lat money we have satire! But why? Mozant: She's right :o go. Rs my fale. She hiks Pm mad SAUER: Surely not? %ozant: Peshaps Lam ... think Tam ... Yer satient: Wolfgang Mozant: Let me tll you! Last night Isa the Figure again ~ the figure in my dreams. [Very disturbed) We stood before my table, all in grey, its fice stil grey, still masked. And this time i spoke to met "Wolfgang Mozare ~ you must write now a Requiem Mass. Take up your pen and begin! SALIERI: A Requien? Who is this Requiem for? ‘Mozanr: [asked “Who has died" Isai, "The work must be finished ‘when you sce me next” Then i cured and left the room, SALIERI: Oh, this is morbid fancy, my friend MozAnt: It had the force of real things... To tll ehe euth ~ 1 do not know whether it happened in my head or out of it No wonder Stanzi has gone. I frightened her away... And now she'l miss the vaudeville satient: You mean it's finished? So soon? MOZART: Oh yes ~ music is easy: i's marviage that's hard! sxtipRt: [long to sit! ‘Mozanr: Would yor come, truly? The theatre isn't grand. No one from Court will be there SALitRI: Do you think that matters to me? would travel anywhere for a work by you! ... Lam no substitute for your litle wife ~ ‘but | know someone who could be! [He gets wp. MozAR® rises els.) sozant: Who? SALINE: you what Mozant: Katherina! sAtiznt: As I remember it, you quite enjoyed her company! [ozanr laughshearily. CAV ALtERtenes, now faer and wearing 2 elaborate plod hat. She curses MOZART and takes his ar] MozAnr [bowing]: Sgaora! SALIERI [to audiene]: And soto the opera we went~ a strange band of three! [The other two freze] ‘The First Kapellmeister ~ sleek a5 a cat. His mistress ~ now fat bring Katherna! She'll hee you up! 0 snd feathered lkethe great song-bird she'd become. And demented, ‘Mozart ~ drunk on the cheap wine which was zow his constant habit [They unfeeze and walk across the stage] ‘We went out ino the suburbs ~ to a crowded music-hall ~ in [eo benches are hough ina placed down front. Sudien nose. A crowd (of workingats Gerrans swarm im from the bak: chatering mass of ‘humanity through whch the thee have to push their wa 1 the font. The long table pushed herizontally, andthe rowdy audience ples ontop of amoking pipes ond chewing sausages ‘Unoberted, nanow ran swteres comes in also and sands a the Back] Moz ant: You mustbe indulgent now! I's my fist piece ofthis kind! [The three stor the font benck: MO2 ANT sick ad emaciated; ‘cavattent bloosy and Bedizened: saLtER as elegant es ever] satiset: We sat at he wished ue to, among ordinary Germans! “The smell of west and ssusage was almost annilaring! Teavatien prsses « moucoit 10 her sensitive nie] [To mozant] This isso exciting! mozanr {heppily|: Do you think 50? ssatient [looking shou hi: Oh yes! This is exactly the audience we should be writing for! Not the dreary Court... AS always ~ you show the way! [The audience feezex) [Tous] As alway, he oid. My pungent seiglabours ell wu thie benches atthe jokes — [They unfeeze~ briefly to demonstrate this mith -) ‘And I slone in thir midst heard ~ The Magic Fue! o[They freeze agin. The great hy at the end of Act Is heard: "Hell euch Goweihtr) Hie had put dhe Masons into it right enough. Oh yes ~ but how? He had tamed thet into an Order of Eternal Priests I heard voices calling out of anciene tomple. I saw a vast un rise on a timeless land, where animals danced and childeen floated: and by ts ays all the poisons we feed each other drawn up and burnt away! 1A great sn doe indeed vise inside the Light Box, and standing in it the gigantic sihouete of «prety igure extending ts ers tothe sword i univer greeting] ‘And in this sun ~ behold ~ I saw his father. No mere an accusing figure, but forgiving! The Highest Pres of the Order ~his hand extended tothe world in love! Wolfgang feared Leopold no longer ‘inal Legend hasbeen made! .. Oh the sound ~ the sound of that ‘newfound peace in him mocking my undiminishing pain! There ‘was the Magic Flate ~ thee Beside me! {He points to mozant. Applause from all. MOZART jumps up excitedly onto the bench and acknowledge the clapiag with his arms “Pong on. He tars 0 us, ote i is hand ~ his ees staring: all feezeagsin.} SALIpRY: Mozate the face, and God the elem player. How lou, ‘could the Creature stand it~ so fil, so palpably mortal? And what ‘was this I was tating suddenly? Could ie be pity? .. Never! VAN SwiereN [calling ou]: Mozart! Ivan swiprim pushes his way tothe font shvough the crowd of dspersing crrtzens, He is ouraged Mozant [turning jryfully to greet hin}: Baron! You he ‘wonderil of you to come! sAtient [0 eudena}: I ad of course suggested it van swiEren [with cold fry]: What have you done? Mozanr: Excellency? van awisren: Yor have put our rituals into a vulgar show! mozant: No, sit VAN SWIBTEN: They ate plain for allt se! And to laugh at! You hhave betrayed the Order. sozanr [in hor] Net How ‘satteat: Baron, a word with you ~ VAN SWHETEN! Don't speak for him, Sales! [To mozanr, with ifiozen contempt] You were everacrucl valgarian we hoped to mend, ‘Stupid, hopeless sk! Now you area betayer aswell I shall ever forgive you. Anc depend upon it~ Ishll ensure that no Freemason for Person of Distinction will do so in Vienna so lng as have life satiert: Baron, peas, | must speak! YAN SWIETEN: No, sit! Leave alone. [To mozaxt] I did not look {or this reward, Mozart. Never speak to me. [ie goes out The crowed disperes. The lights change. The benches sare taken off SALtER, watching MozaRT narowly, dismiss KATHERINA, MOZAWT sands a5 one dead | satiuni: Wolfgang? [mozant shakes his head sharply ~ and walls away from him, upstage, desl and stunned] ‘Wolfgang ~ alls not lost. [wozanr ener hie apartment and freezes] Lo audience] Bux of course it was! Now he was ruined. Brokes and shunned by all men of influence. He did ot even get his half receipts from the oper. [The vewrrcetes iome in} vewricetto 1: Scikaneder pays him nothing vewriceLto a: Scikaneder cheats him. vawTic#Lto 1: Gives him enough for liquor. YANTICHLLO 2: And keeps all che rest. satisei: I couldn't have managed it better myselt [ozAnt take up a Blanket ond mufles himself i. Then he sits at his work-ale, down font, staring out atthe adince, quit il, the blanket almost over his fee] [And then silence. No word came rom him atall. Why? .. waited 9each day. Nothing, Why? ..[ To the venticecLisbnucguely] What oes he do? [wozanr writer) ven Ticetto 1: He si at his window. venticxtto 2: All day and all night YENTICELLO 1: Writing — YENTICELLO 2: Writing ~ ike a man possessed bez anr springs his fr, and freezes} venticetto 1: Springs up every moment! YENTICELLO 2: Stares willy 3¢ the street! ‘eTicetto 1: Expecting something ~ ‘yenricetto 2: Someone — YENTICELLO 1 and VENTICELLO 2: We can’t imagine what! sattent [0 audience): could! Le aio springs ap excitedly, domissng the VENTICELLL. MOZART fand saniens now both stand staring out front.) Who did he look for? A Figure in grey, matked and sorrowing, ‘come to take him away. I new what he was doing, alone in that slum! He was writing his Requiem Mass for bimscif!... And now Teonfes the wickedst thing I did co bien, His WAL brings him the clothe which he descber, and he puts ‘here om, turing his back tous 10 dow the hat = to whichis attached mask | My friends ~ there is no blasphemy 2 man will not commit, compelled to aich a war as mine! I got me a cleak of grey. Yeu ‘And a mask of grey ~ Yes! [He urs rund: he i masked] and appeated myself to the demented Creature a ~ the Messenger ‘Godt... I confess that in November teventeesninety-one, I~ ‘Antonio Salieri, then as now Firs Kapellmeistr to the Empire ~ walked empty Vienna in the freezing moonlight for seven nights (on ena! That precisely a the clocks ofthe city struck one I would halt benesth Morar’s window ~ and become his more terrible dock. {The clack ses nes, withou moving from the ef side of the sage, ries sams is fingers show even dp. MOZART rss since ad epalled~ ad stands equally rig onthe right sid, loking oui oro} Every night lshowed him one day lst then stalked away. Every night the fice bestowed me atthe glass was more crazed Finally pith no day lef to him ~ hoe! arrived as usual Halted. And Jntead of fingem, reached up boechingly ab the Figure of his dreams! Come! Come! ~ Come! {He beckons fo MOZART, tuidout He stood swaying, as ifhe would fin offinto death. But suddenly incredibly ~hereaized all his ie strength, ae ina cea voice called down w me the words of hit opera Don Glover, inviting teste w diner amozant [pushing open th ‘window’ O status gontisina — vente a [ete beckons hit sauttnt: For slong moment one terrified man looked at another: “Then unbelievably = found mye nodding jut asin the opera Starting to move aro the see! [The rising and fling scale pasage from the Overture so Don Giovanni seund darkly, lope in snr repetition. To hie hllow muse eaussas marche slowly upstage) Pushing down the ch of hs door ~ wamphg up the tic with stone fee. There wat no stopping i was his dreamt [aozanrsonderiedby hi tale sattea1 thrws oper the door ‘Arm instant ight hone Shutent nde sll ring impasively downsge, MOZART “rss hin agen, ond ae mozanr: les not finshed!» Nor nearly... Forgie me. Time was "could writes Mass ina week! -.. Give me one month more and Wl be done: Tsweat Hel grane me tat, surely? God ‘n't wane ieamfnithed! .. Look — look, ce what I've done. [He nthe the pages om the ble and rings Bem cael othe Figure 9sHere's the Kyrie ~ that’s finshed! Take that to Him ~ Hel se ite noe unsere! {Cinlingy sie moves cas th rom = tae hepa, aed Sis Behind he tale in oceans car, tring ou fon) Grant meine, 1b you! If you do Tear FE write a el pec ‘fuse | Inow Fe boned Ive writen hundreds, bu isnt ttue Te wen nothing Billy good! Tete are psy we ee sob ‘pening of the Region Mass. Over hit MOZART Je onrrbckat wall ey ie Once te word wa fal ppt ‘All the jouneys = ll te csiags~ all che rooms of sue ‘veryone sald at me once =the King t Schr: the Princes zr Veriles They le my way with candles to the elie! ~ my finer bowng, bowing, bowing with such joy! “Chevaer ‘Mosse my witaclousont> Why hs ital gone)... Why? War Tao bad So wicked? .-. Answer for Him and ll [Deliberete'y saximmt tars the paper ino pieces. The music stops instantly. Silence] [Feafuly] Why? ... sit not good? Satin [stiy: Ite good. Yes. es good, [He tears af comer ofthe musi peer, elevates it in the manner fof the Communion Service, places i om his tongue and eas it) [Um pain) I eat what God gives me, Dose after dese. For all of li. His poison, Weare beth poitoned, Amadeus. with you: you with [is horror woz ANT moves cowl behind him, placing his hand oer SAtineYs mouth ~ then, sl fiom behind, slow removes the mask Gd hat, 8921084 stares at W] _Ecaom. Antonio Salieri, Ten years of my hate have poisoned you to death [mozart fll to his knees, by the thle) mozant: Oh God! Satieat [contonpricusy|: God?! ... God will net help you! God doce not helo! Fa Mozant: Oh God! ... Oh God! ... Oh God sAtteR: God does not love you, Amadeus! God does not lovel He can only ws! ... He cares nothing for who He uses: nothing for who He denied. You are no ue to Him any more ~ You're t00 tweak ~ too sick! He hat finished with you! All you can do a0% is dil mozanr: Akt [Wiha gran morzanr rowle quickly Pnough the tet of the tbe, ike a animal finding a burrow ~ ora child af place of coneal~ iment. SALIERE kneels by the sable, calling at his victin in ‘dsperation | satieni: Dic, Amadeus! Dic I beg you, die... Leave me alone, implore! Leave me alone 2 last! Leave me alone! {He beats on the able in his despair.) Alora! Alone! Alone! Alone! Alone! sorant [ering oud ut the tp of hs lags}: PAPARAAA! HE freser— his mouth ope in th act of seaming ~ hs head caring ‘out rom under the thle SALIERI rises in hovor. Silene. Thee very slowly MOZART frawle out fram under the table, He stores upwards, He sts. He ‘mies Una childish voice] Papa! {Silene.} Papa... papa [He extends his arms upward, inplringly. He speaks now ata very young boy.) ‘Take me, Papa, Take me, Put down your arms and I'l hop into them, Just ar we used to da itl. . Hop-hop-hop-hop-UP! He jumpe up on to the table, SaiaeRt wetches in how Hold me elose 0 you, Papa. L's sing our litle Kissing Song together. Do you remember. [He sings ina infontine voice] ‘Onaga fiata fa! Marina gamina ft ‘san: Redace the man: reduce the God. Behold my vow fulfilled, "The profoundest voice in the world reduced to a nursery tune ”ae hey monn mes ozs Onan at Marin coin ‘Watt itraus, constancy fom th back of te ree bt het had, Sh aed fom Base, She comes ‘Have was he hc, sow treo he le ‘ging onsite a il art ganna Pet Fal TB erie a eval mes Fly e bones aah wife Stoning Bede {Chern Sean? constant: Walt moan ine} Sa cee iaetwaheatekemes Wali my ove! Litihasbndf oy bee THe ily ilo the te nt her arm mozare: Of {i ctr oehelming plese, She pK ey 0 Wonca he te me tht ein an Sot] consyanee Om my done come with me Come on Come on row There. Thee Tuosnny ssw] ozs [ew hd i nd mot carey Sale Sal bas Tee compare: Yeu my dat Pray bles ere daring he left cle, bole teas nb mozart: He hs. He od me 9. Constanze: Yeu ye Tim nie {She find Yo pls nd plas hom othe khan head fhe wie} oznet [tet He id. He it Concranten: Hs nom ey. {Ste hp er ding tad th eb, now hi bed, He is thurs and he eve Him it he shat) ra bck to ke oe af yo i sony {went sy. Fm Bere ov. fr avy 38 mozart: Salieri. Sater... Sale. Sai! [He starts 0 weep.) ConSTANZE: Ol lovey, be silent now. No one has hurt you, You'll ist better soon, I promise, Can you hese me? [sity the Lacrimou ofthe Requiem Mass Begins to sod. morzant ses 0 heart Team against hs wif shoulder. Hs hand bog feeb to beat out dams measures fon the music. During the uhole ‘ofthe following i is evident that he is componing the Mate i his head, and dos not har his wife atl.) You've got to get wal, Wolfi~ because we need you. Kael and Baby Franz as well. There's only the three of us, lovey: we don't ‘ost much, Just don’t leave us ~ we wouldn't know what «6 do Without you. And you would’ know much either, up in Heaven, without us. You sopry thing. You can't even cut up your own, rmeat without help! I'm not clever, lovey. It can’ have Been ‘easy living with a gcose. Bue T've looked after You, you must admit that. And I've given you fan too ~ gute 2 lot really Are you lsening? [The drum sroes ge slower, and sp] Know one thing. Ie ws the bese day of my life when you married me. And 35 Tong 25 I live I'l be the most honoured woman in the world ... Can you hear me? [she becomes ware thar MOZART ss dead: She pens her move in Silo scream, raising her arn arg gesture of gif. The great Chord of the “Amen” doesnot resolve ite but lingers om niece reverberation Ierrizens oF vienna come in, dresed in Black, from the right. CONSTANZE hnels and freezes in grees SERWANTS come in and tad 2 eath of the four corer ofthe table on whch the dead body lies. 188 SWIETEN alo comes in]assent [had The Dat Cerne ad kidney lure, heed by expmure to cold Generous Lord Fugue paid for puper's Rca aye cone, mat! in vancttereren Whar fel an spre yous ave forthe cies “Thor: no ned to ate Wot wai show {The scevan ts the lean ear within, psa, ten, oe Light Hox. The crsizens flow i sauients What dl I fd Rel ofcourse: I confess it. And pity Woo, forthe man I helped to detioy. | the pity Cod cam ever eel | weakened Gods eto thane God Bev — as The must = widhout eae, The fe ale the mouth of Hi inate ne Tne crvvzens bye. fn dead see the seavan's dow Meosans body of te ble inte spe tthe ak of he ae “at deetsavesatiens on Cons an EE She wfeczs od as Siu cling the manus sated oe the fo. Shuteat now spt wh on icing acing vo: « vole ote more and moby hs un bt ‘nvtoe Comance inte fulnsof tie se acid again — Danish dipomat falls dock ~ and retied to Slsbug, Urtplac of the Composer, to become the pws Keeper of hs Sine! . [constant ries, sappng her shoul abou er, and lasing tence w herbs] consrandt teeta. A swectersongued man never ied! n ton yeaa marae revered him tr singe oa tr conceted word. The puny of hfe oflected sbsoluely the pony of hs muse! (More fry] In eng is anuscps charge by tbe nk So many ots, 0 many lings Twente lt wa (She ears Be sage, pla fe sauibnt Ove amin eet emergeds Mort i 9 imate hat nuked Figure whovsid Take op your pn and write « Requiem. Itasca A corain bine nobleman called Count Walp had a longing to be thought a composer. He actually sent hit Steward in disguise to Mozart to commision the piece ~ secretly, so that he could pas i off as his own work. And this he ever did! After Mozart's death it was actualy performed as Count ‘Waleegg’s Requicm ... And I conducted i [He mile at the audonce | Naturally 1 did. 'n those days I presded overall great musica occasions in Views [He divest: himself of hi oak.) satiznt: I even cenducted the slvor of cannon in Beethoven's ‘readfal Batle Symphony. The experience made me almost 3 deaf as he was! [The exrizens bow and kis ther hands to him.) SALIMRI: So I emsined in Vienna ~ City of Musicians ~ reverenced byall-Andslowly I understood thenatureof God's punishment! ‘What had 1 begged for in that church as a boy? Was it not fame? .-- Fame for excellence? -.- Well now I had fame! | ws to become ~ quite simply ~ the most farnous musician in Europe [Allie curt fll om thee knee baie hie, clapping their hand silently, and reels extending thir ar upwards and upwards, slmost eliterating i] 1 wat co be bricked up in fame! Embalmed in fame! Buried fame ~ but for work I knew to be abalutly worthlec! ... Thi was my sentence: ~ I must endure thirty years of being called “distinguished by people incapable of distinguishing! ...and finally — his Mastertrokel When my nose had been rubbed in fime t vomiting ~it would all be taken away fiom me. Every scrap [The cxr1Z6Ns rise, and al walk away indieremly upstage, pat him, om into the Light Bas, and of the sage) | must survive to ee myself become extn!(A sna andi i die igo an Wy mtd me nos eonge gy a Aor Winn el he ted sal at om oe Cone om Waco FS monomer Spy gin sad ring tar Mee me ounded odes and loads toh te wok MeFi lated comply il noone payed a all (Yling cust Nema Rest ie npc ie car phenyl age ese, ecming on Ueseee te bre esi ewig of daly Sehwag at The een ma rosa The tras send A do se ‘NOVEMBER 1823, [Asenvan comes in quickly with he wheelchair. SA inthe voice of an old man.) “SALIERI [to audience}: Dawn has come. I mustreeate you~and myself ‘One moment's violence and i's done. You see, I cannot accept this I did not live on earth to be His oke for Eternity. 1 will ‘be remembered wil eromembered!~if not fame, then infamy. Que moment more and 1 win bate with Him, Watch and see! ‘All this month I've been shouting aboat murder, “Have mercy, ‘Mozart! Pardon your Asassin! And now my last move. A fale confession ~ short and canvincing! [He pull cut of his poker] How I really did murder Mozart ~ with arsenic ~ out of envy! ‘And how I cannot live another day urder the knowledge! By tonight they'll hear out there how I died ~ and they'll believe 1 speaks aga it’s tue! ... Let ther forget me chen. For there of time when ‘ever men say Morart with love, they wills Sale with loathing! am going to be immoral afer all! And He fs powerlesto preven: it! So, Signore ~ sce now if Man is mocked! [The VALE comer in with a trey, bearing 4 bow! of hor shaving ‘water, sop and a razor, He sts this on the tbl. SAL hands him the Confession) [Ta vaterl: Good moming, Lay this on the desk in the Cabinet ‘Append your name to it in witness that cis ie my hand. Via ~ abit! {The man cakes the poper and goes, bewildered, upstage right SALIBA. picks up the raztr and ries. He adiveses the audience mos imply and dey) “Amie ari. Las born a paie of ears and nothing ele. Ie i only through hearing music chat I know God exists Only through writing, music that I could worship. All around me men seck liberty for Mankind. I sought only slavery for myself. To be ownec = ordered ~ exhausted by an Absole, This was denied me and with tall messing. [Ee opens the raz0"] Now I go to become a ghost myrelf. I will stand in the shadows when you come here to this cath in your turn. And when you feel the dreadful bite of your failures ~ and hear the taunting of smachievable, uncaring God ~ I will whisper my name to you ‘Salieri: Patton Sui of Mediocrtice!’ And in the depth of your downeastness you can pray t0 me, And 1 will forgive you. Vi salut, [He cus his trot, and falls backwrds into the wheelchair The COOK ~ who has just come in, carrying plate of eh buns for breakfast ~ sees his and seams. The VALE rihes in tthe same ‘ime frm the other side. Together they pull the whelcait, with i sped body, bacoands upstage, and anchor it nthe centre. ‘The VENTICELL! eppear again, in the cose of 1825] ‘VENTICELLO 1: Beethoven's Conversation Book, eighteen twenty ‘three Visitors write che news for the deaf man. 103[He hands book to veNrICELLO 2.) vewriceiio 2 [readiagl “Salieri has cut his throat ~ but is stil alive” Isattent sie and comes to if, loking abot hin bewildered Thevausrandthe coor depart He tare: ou fen like an astounded soporte] VENTICELLO 1: Beethoven's Conversation Book, eightcen twenty four. Visitors write the newts for the deaf man, [He hands another book b veNTxcetLo 2) ‘venTICELLO 2 [reading ‘Saris quite deranged, He keeps claiming that he is guilty of Mozat’s death, and made away with bim by [The light narrows into «bight cone, beating on SaLtER] vewticeito 1: The German Musical Times, May the ewenty-ffth, eighteen twenty-five [He hands a newspaper 19 VENTICELLO 2) ‘van ticeLto 2 [reading|:"Our worthy Salieri ju cannot die. In the frenzy of his imagination he is even said to accuse himself of complicity in Mozar’s early death. A rambling of the mind believed in truth by no one but the deluded ald man himselE” [The music stop. Sa1 lowers hs head, comeing daft. venticeLto 1: Idon’e beleve it venticeLto 2:1 don’t beleve (They look in tum at Sle.) venticntio 121 don’t beleve it venricntto a: I don’t beleve it VENTICELLO 1 and VENTICELLO 2: No one Beleves i in the world! [They go off. The light ds a lite. saLteRt slowly rises and walks oumatage: a lone figure the darkness SALiERi: Mediocrities everywhere ~ now and to come ~ I absolve ‘you all. Amen! {He extends his arms upwards and outward to embrace the axsemBled audience in a wide gevture of Benediction ~ finally folding his arms high across his own bree. 104 ‘The ight fades completely. The at four chordsef the Masonic Funeral Music of AMADEUS MOZAR® sound thoughout the theatre] 105SALIERI'S MARCH a played by both Saber and Mozart, ‘Moca payng ifuster Ugh and lea decorative MOZARTS TRANSFORMATION “does ealy work, PROCESS: thstfouth does NON PIU ANDRA sranged fr piano by Kevin Leeman Afr remively