Amadeus explores the rivalry between Wolfgang Amadeus Mozart and Antonio Salieri, court composer to the Austrian Emperor in the late 18th Century.

Act One, Part One

The play begins with Salieri as a dying, tormented man. The Venticelli, characters who narrate and participate, talk about the fact that there are rumours that he killed Mozart some years ago.

Salieri invites the audience to keep him company on his last night of life. He says that he always wanted to be famous through music and as a young man made a bargain with God. A family friend paid for him to study music in Vienna, where he rose through the court at the same time as Mozart was touring Europe as a very talented child musician.

Act One, Part Two

Salieri now appears as he did when a young man in 1781. He introduces his wife, Teresa, and his student, Katherina. He tells us that his ambition was to become the “First Royal Kappellmeister, the music master. Salieri talks about how composers wanted to immortalise men’s mediocrity.

The Venticelli come to tell Salieri that Mozart, now 25, is in Vienna to stay. Salieri introduces us to the Court officials who are discussing a new opera and Mozart, who Salieri says should write it. The Director of the Opera, Rosenberg, is not happy with the idea as he thinks Mozart is trouble and that his music has “too many notes.”

Van Swieten, head of the Imperial Library then invites Salieri to join the Masons. Salieri explains to the audience that “every man of influence in Vienna was a Mason.” He also expresses his worry that Mozart is being highly praised. The Venticelli come back on praising Mozart. They reveal that Mozart lodges with Madame Weber, has been involved with one of her daughters and is now engaged to another.

Salieri wants to meet Mozart and arranges to go to the house of a Baroness that evening where Mozart will be playing his music. Salieri tells us that the night changed his life.

Act One, Part Three

Salieri sits concealed in a chair at the house of the Baroness. He introduces a scene in which Mozart and his wife to be, Constanze, play a game of tag, as cat and mouse, telling crude jokes. Constanze tells Mozart his father will never agree to their marriage. When a servant comes to tell Mozart the Baroness is ready, he and Constanze, leave the room embarrassed.
Salieri then tells the audience of his feelings as the orchestra played Mozart’s music. He feels the music physically, as an intense pain, causing him to run out through the streets, believing that he was hearing the voice of God.

Salieri tells how he buried himself in work, taking more students and writing more compositions praising God, asking that he might be his voice rather than Mozart.
He sent the Venticelli to bring back Mozart’s scores. He finds these to be boring and thinks that the music he heard was just a one off lucky composition. Relieved he resolves to find Mozart and welcome him to Vienna.

Act One, Part Four

At the Imperial Palace, the Emperor is excitedly awaiting Mozart. Salieri asks permission to play “a little march in Mozart’s honour.” Salieri plays his March of Welcome and Mozart greets the Emperor in an embarrassing, effusive way.

The Emperor asks Mozart if he received the commission for the opera and Mozart surprises them all by saying that he has already found a libretto (script and lyrics) for the songs. Rosenberg is insulted that Mozart did not think it important to keep him informed as Director of the opera. Mozart explains that it is set in a harem and tells the Emperor that the first act is already finished. The Emperor is impressed and departs with the court officials, leaving Mozart and Salieri alone.

Salieri wishes Mozart luck with the opera and Mozart tells him that he has found an excellent soprano lead, Salieri’s pupil Katherina. Salieri cannot bear the thought of anyone else touching Katherina even though he has restrained himself.

Mozart calls Salieri’s march a “jolly little thing”, plays it from memory and then starts to change and improve it. There is a long silence and Salieri excuses himself, refusing to try a variation. Salieri addresses the audience , wondering if it was at that moment that he started to think about killing Mozart. Salieri says he did not want to take his life but wanted to kill him in art.

The first performance of The Abduction from the Seraglio, the opera set in the harem, takes place.Salieri describes the music as showy. The Emperor calls it a “good effort” and agrees with Rosenberg’s opinion that there are too many notes.Salieri agrees reluctantly. Everyone leaves except Mozart and Salieri.

Salieri reassures Mozart that the Emperor is not angry but Mozart goes on to insult Salieri, although he appears to ignore it. Mozart and Constanze tell him that Mozart’s father is opposed to their marrying and Salieri points out that at 26 Mozart can do as he pleases. Salieri advises them to “marry and be happy” but confesses to the audience that he thought about seducing Constanze in revenge for Mozart seducing Katherina.

The Venticelli appear and tell that Mozart and Constanze are married but struggling financially as Mozart’s unpredictability means he makes enemies and struggles to get pupils.

At the end of the scene a drunken Mozart makes a rude comment about the Emperor in front of his officials. Mozart apologises and begs Rosenberg to help him get the job of music instructor to one of the Emperor’s daughters. Rosenberg tells him it is Salieri’s decision and leaves. Mozart complains and sings a crude song. Salieri, watching says that “barely one month later, that thought of revenge became more than thought.”

Act One, part 5

The scene starts at another musical evening, Salieri sitting in the chair. Constanze and the Venticelli are playing a sexy game. Mozart enters, outraged he tells Constanze she has ruined their reputations but she counters with the opinion that Mozart has done more to ruin his reputation by sleeping with his pupils and that is why Salieri has more.

Mozart crudely says that Salieri’s music is indicative that he cannot have any sex. Constanze is distressed and Mozart wins her over with a game. Salieri involuntarily shouts out from his chair. Salieri pretends he has been dreaming and sends Mozart out of the room to look for sweets. Constanze asks for Salieri’s help to get Mozart a position at court and Salieri asks her to come to his house the next day to discuss it. Constanze refuses but when Salieri tells her it’s in Mozart’s interest she runs off without answering.

The scene moves to Salieri’s house where he awaits Constanze anxiously. She arrives saying that Mozart is a very jealous man. She shows Salieri some manuscripts to prove Mozart’s worth. He proposes a kiss as recompense for his help, she kisses him twice but when she realise exactly what he wants she gets up to leave, Salieri tries to rescue the situation and Constanze tries to be crudely playful.

Salieri responds badly and tells Constanze that he will look at the music she brought overnight and she should study his proposal.

Constanze leaves and Salieri rips open the scores. Music fills the theatre, Salieri tells the audience that the music is perfect, the music builds to a climax and Salieri falls to the floor. He stand up and calls out to God that he feels betrayed and frustrated that Mozart, a “giggling child” is the voice of God. He vows that God is now his enemy.

Salieri, anger spent, becomes an old man again. He promises to reveal what happens next after he has taken care of the needs of his bladder.

Act 2, part 1

The act begins with Salieri as an old man about to die. He tells the audience that his intention was to obstruct God but he was glad that doing that meant he would obstruct a rival.

He transforms back into a younger man. Constanze returns, prepared to let Salieri have his way, if it means Mozart gets the job at court.

Salieri returns the manuscripts and tells her to go. She attacks him, he throws her to the floor, telling the audience that his quarrel was with God, not Mozart, and she leaves.
Salieri tells us that he then seduced Katherina and had her as his mistress for several years.

He renounces all his charity work and recommends a talentless man as a tutor for the princess, explaining to the Emperor that Mozart cannot be trusted with young women.

Mozart has no idea of Salieri’s influence and blames himself. He has hardly any pupils but Salieri becomes more successful despite Mozart writing some of his best music.

Act 2, part 2

The Venticelli are in Salieri’s house discussing the fact that Mozart has dismissed Salieri’s last opera and wants to write an Italian opera based on a French play, The Marriage of Figaro. Mozart is shown persuading Van Swieten to give him a chance.

Salieri tries to get the opera banned, but Mozart finishes it in 6 weeks. Salieri tells Rosenberg an idea to get it banned and the scene moves to the meeting between Rosenberg and Mozart. Rosenberg reminds Mozart that ballets in operas are not allowed and the music in the 3rd act must be removed. Mozart says it is a dance at a wedding and essential to the story. Mozart suspects Salieri and says he cannot rewrite what is already perfect at this late stage. Mozart meets Salieri who promises to talk to the Emperor. Of course he does not but the Emperor comes to the rehearsal anyway. At the point where the dance music should have been, the action continued in silence. The Emperor asks why and Mozart explains it is Rosenberg’s instructions. The Emperor decrees it should be put back in.

Salieri describes the first performance. Mozart takes the improvisations he did to the March of welcome and incorporates them into the opera. Salieri describes it as outstanding. Salieri and Rosenberg get the opera cancelled and Salieri tells Mozart it’s because the public didn’t like it. He then resolves to destroy Mozart as a man.

Act 2, part 3

At the Baroness’s house, Mozart says he will go to England. When Salieri encourages him , he says he cannot because he has a wife and children and his father has refused to look after them whilst he’s away.

The Venticelli arrives with news of Mozart’s father’s death. He is consumed by grief. Salieri comforts him but Mozart breaks down.Salieri tells the audience that this is the origin of the Ghost Father in Don Giovanni.

Salieri says he could only stand and watch as Mozart creates art from the ordinary. He says that if God had shown pity on him he would have shown pity to Mozart.
He decides the only way to defeat Mozart is to send him into poverty.

The Emperor, concerned, plans to offer Mozart the job of Chamber Composer. Salieri resists but the Emperor is determined so he suggests a reduced salary. When Mozart says it’s an insult he tells Mozart the job offer was his idea so that Mozart has to be grateful. Mozart doubles up with stomach cramps saying they happen often. Salieri keeps expecting God to crush him but instead he gets the position of Kappellmeister. The Venticelli congratulate him and tell Salieri that Mozart is unwell and that he has another child on the way.

Act 2, part 4

Salieri meets Mozart and Constanze on the street.  Mozart congratulates Salieri on his new position and Salieri congratulates Mozart on the birth of his son, and asks about Mozart’s health.  Mozart tells him he still has stomach pains and can’t sleep as he dreams of a figure ‘ clocked in grey’ beckoning to him.  Constanze says if he ahd more work he would dream less and they hurry off.

The Venticelli tell Salieri that Mozart is now begging from the Masons so Salieri decides to destroy his reputation with them to prevent them from stopping Mozart’s destruction.

Van Swieten tells Mozart that the Masons are not the place for begging but gives him some music to arrange for a small fee.  Mozart tells Salieri about his new commission and that a new member of the Masons has asked him to create a piece for ‘ordinary German people’.  He is thinking of writing about Brotherly Love and Salieri suggests that he should write about the Masons.  Salieri says the rituals are secret but Mozart is enthusiastic and says he could ‘adapt them a little’.  Salieri is sure this will upset the Masons.

The play shows Salieri in his luxurious home and Mozart and Constanze in their poorer home.

Constanze complains about being cold and she and Mozart argue about his father.

The Venticelli tell Salieri that Constanze has taken the children and left Mozart.  Mozart tells him she has gone to Germany and that the clocked figure of his dreams is telling him to write a Requiem.

Act 2 Part 5

Van Swieten secretly watches a performance of The Magic Flute and accuses Mozart of betraying the Masons by including their rituals.  He tells him no Mason will help him again.  Salieri pretends to protest although he invited him.

The Venticelli tell Salieri that Mozart does not sleep but keeps looking for something at the window as he writes music.

Salieri decides to send Mozart over the edge and disguises himself as the figure in grey.  He visits Mozart every day for a week, each time gesturing that Mozart has one less day to live.  On the final day Mozart invites the figure up to his room.  He begs the figure for more time to make his Requiem really good and asks the figure to speak in his father’s place and tell him it is good.

Salieri tells him it’s good and reveals his identity.  Mozart calls out to God for help but Salieri tells him his cry is useless, God is finished with Mozart and all he can do is die.

Mozart collapses and calls out for his father.  Imagining Salieri is his father he starts to sing a nursery song from the past.  Salieri sees this as his final victory and leaves.

Constanze returns and comforts Mozart.  She talks of her need for him but the Requiem fills his mind and the theatre as he dies.

The Chorus of Citizens comes on, dressed in black.  Salieri tells us that Mozart was buried in a mass grave for the poor.  His main feeling was one of relief with a little bit of pity.

Constanze married again and sells manuscripts ‘by the ink’. 

Mozart did not imagine the figure in grey, a nobleman had asked Mozart to write a Requiem which Salieri conducted after Mozart’s death.

Salieri becomes an old man again.  He tells how he stayed in Vienna for another 32 years and became more famous until God took his revenge and Mozart’s music became more popular than his.  He started the rumours about Mozart’s death himself to achieve the fame he always wanted.

Salieri tells us that if he couldn’t be Mozart he didn’t want to by anything.  He describes himself as ‘Antonio Salieri Patron Saint of Mediocrities’ and slits his throat.

The Venticelli repeat comments from various sources which do not believe Salieri was responsible for Mozart’s death.

As Salieri dies funeral music fills the theatre.

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