Amadeus: A Guilty Pleasure

The 19th of September, 2014 marks the 30th anniversary of the release of the brilliant Milos Forman film, Amadeus starring Tom Hulce as Wolfgang Mozart, and F. Murray Abraham as the Viennese Court Composer, and Mozart nemesis, Antonio Salieri. In celebration of the upcoming anniversary, a large group of Mozart lovers all over the world gathered yesterday in front of their television screens for an international "watch party" sponsored and promoted by an event registered on Facebook.

It had been several years since I had indulged in watching one of my all-time favorite films, so I decided to join in the fun. I popped a large bowl of popcorn and put our copy of the Director's Cut version of the film in our DVD player and sat back to watch 180 minutes of this not-so-historically-accurate-but-wonderfully-addictive tale, once again.

It is here I will note that as a Mozart historian, it is not "politically correct" for me to love this movie. In fact, the world of musicology is riddled with elitist snobs who would label me as a "dilettante" for even uttering the title of the film.

To them I say, "bite me". It wasn't intended to be a documentary or a biography. Like Mozart's operas, it's a  farce--a comedy (although like Don Giovanni, it has its elements of dark tragedy). I know the difference between Mozart fact and fiction. Now thirty years after the film's debut, most people know that Salieri didn't conspire to murder Mozart. They also know that Mozart probably wasn't quite as socially awkward and over-the-top as he was portrayed in the film. But there are some other things that were portrayed in this film that people take as fact, that weren't such, so I'm taking the opportunity to list some of them here.

1. Mozart never had an affair with the singer, Caterina Cavalieri, though it is almost certain that she was the mistress of Antonio Salieri (despite the character's claim in the film that he "never laid a finger on her").

2. There is no evidence to suggest that Mozart ever borrowed money from Salieri, nor would Salieri ever have known about Mozart's financial affairs. Mozart actually experienced a very prosperous period between 1784 and 1787 when his popularity in Vienna soared through a series of subscription concerts for which he composed and performed some of his finest piano concertos. He did fall into debt, that is true, but he borrowed money from a textile merchant and fellow Freemason, Michael Puchberg. His borrowing didn't begin until 1788, two years after the premiere of Le Nozze di Figaro, and shortly after his next opera Don Giovanni, failed miserably in Vienna. There is also recent evidence to suggest that most of Mozart's largest debts were completely

paid off by the end of 1790 and that he entered once again, into a very prosperous period in 1791, which was the last year of his life.

3. Mozart did not die in poverty, nor was he buried in a pauper's grave. Contrary to the impression that the film leaves that the apartment was literally ransacked and everything sold to pay off debts, that is simply not true. As I stated above, by the end of 1790, Mozart was, once again, entering one of the most prosperous periods of his life. At the time of his death he was living in a fashionable apartment in a high-rent district in Vienna. He had a full staff of house servants, including several maids and a cook. His oldest son, Karl (the Mozarts had six children, with two surviving), was attending a very expensive private boarding school, and Mozart was maintaining the rent and household expenses for an apartment for Constanze at the spa in Baden (where she spent most of the last two years of their marriage).

Mozart's funeral and burial were paid for by the Freemasons as a benefit to his widow. The common grave was standard for a man of Mozart's educated working upper-middle class station. And unlike what was portrayed in the film, Constanze did not attend the funeral (nor did Salieri, for that matter).

4. The whole scene where the opera director, Herr Rosenberg, rips out the score of the "ballet" in Figaro, never took place. There was some controversy over whether or not the dance in Figaro and Susanna's wedding could be considered a ballet, resulting in a mild dispute between Rosenberg and Lorenzo da Ponte (the librettist). However, da Ponte, who was highly favored by the Emperor went directly to him and settled it in favor of keeping the dance in since it contained a major plot point in the story.

5. Mozart did not die suddenly after conducting a performance of The Magic Flute. He had actually fallen quite ill and took to his bed for two weeks before his death at 1:00 a.m. on December 5th, 1791. Constanze had to be summoned from the spa (as she didn't just suddenly sense that something was "wrong" as the film portrayed). Salieri was not present at Mozart's death bed, nor did he contribute to any part of the composing of Mozart's  Requiem (although that scene is probably one of my most favorites of the entire film).

If you get a chance during this 30th anniversary of the Amadeus film premiere, I encourage you to watch it again, and when you do, enjoy it for what it is; a beautifully made film filled with some of Hollywood's finest acting and memorable lines, costumes, sets, scenery, and of course, the music. We can't forget that, for in the end, it really is all about Mozart and his miraculous and beautiful music. And well...there it is.

Review of "So Faithful a Heart" by Eliza Knight at History Undressed

 I have just finished reading Ms. Knight's review and I admit that I'm sitting here, blown away. I knew that this story was riveting, touching, emotional, and compelling, but I continue to be humbled by the response it gets from readers. Thank you, Ms. Knight. I'm pleased that this beautiful story touched you.

You know you've got something special when...

a reviewer comes to you and says that they've heard a lot of good things about your book and they ask you if they can review it!

There are two blog reviews scheduled for this summer--one by Eliza Knight at History Undressed and the second by Martina Kunz at She Read a Book. Check back later for dates and links! In the meantime, if you've not yet read So Faithful a Heart, there's no time like the summer for sitting in your favorite chair or lawn chair with a good book! It's available for purchase at all of the most popular online retail outlets. Check the column on the left of this blog for the link to your favorite online bookstore! And if you have read it and enjoyed it, I would most certainly appreciate it if you would go to one of the online outlets and leave a short review!

The details aren't merely the icing, they're the whole cake!

I spent over ten years in research in preparation for writing So Faithful a Heart. The idea to write an historical fiction novel on the subject of the love between Mozart and Nancy Storace was born out of the subject for my master's thesis which was on Nancy Storace, her life, career, and relationship with Mozart. After I finished graduate school, I continued doing more in-depth research about Mozart and Nancy as well as 18th century European culture, fashion, society, marriage, religion, music, literature, art, politics, and general history. I studied the languages, terms, attitudes, customs and class structures in order to gain a deeper insight into the characters and the things that motivated them. I wanted my characters to be as real, believable, and accessible as possible and at the same time not simply be 21st century people with 21st century attitudes in an 18th century setting.

I'm sure many of you have had experiences when you learn that someone, perhaps younger than you, perhaps not, has been watching you and gleaning from your life, your work, and your actions without your even realizing that they've been doing so. This has been the case with a young woman who, when I was a grad student, was an undergrad in the same department. A few years later we were reunited through a choral group in which we both sing in the alto section, and then after that we became friends on Facebook.

A couple of months ago she purchased a copy of So Faithful a Heart and read it, and then when I opened this blog, she became a regular reader of it, too. A few days ago, when I posted a link on Facebook to another blog entry, she commented on the link that she loved this blog and that she enjoyed getting to read more of the "behind-the-scenes" information and research that went into the writing of So Faithful a Heart. She said one thing in particular that really touched me and affirmed that the painstaking research and trouble I took to gather as many details as possible wasn't for naught.

I love that you know the world your book is set in, inside and out. I love when I am confident that fiction authors know more about their created worlds than their audience does. You KNOW what's around every corner, who's involved with whom, and what's going on behind the scenes. Immersion is awesome. Details aren't the icing on the cake for me--they ARE the cake.

Thank you, Rebecca. Readers like you make it all worth it!

On a personal note: A review from the not-so-distant past

Yesterday I received a letter from a dear friend who had just finished reading So Faithful a Heart. This friend was actually my undergraduate voice professor and in a very tangible way, the one who "started it all", years ago, when he assigned me Susanna's Act IV aria from Le Nozze di Figaro. From that point on, I was hooked, and now, over thirty years later, it has culminated in this novel. I don't think that either he or I ever dreamed that something like this would be born from his assigning me a standard piece for soprano, but here it is. I just wanted to share a little of what he wrote in his letter.

The time and energy to produce a work so well researched and so entertaining is a credit to you and your partner. It was very difficult to separate hard facts from the beauty and engaging presentation of the story. I think you truly caught the spirit of the time and the characters. The book is a good read. I'm glad that you included the romance of the story..it helps us understand the human side of people we admire and adds another dimension to their incredible lives. It must be a very rewarding feeling to have completed such a challenging project.

But my favorite line of all came at the very end.

Take care of yourself and keep in touch. I'm very proud of you. 

Thank you, Mr. Brown.