Can Amadeus ignite a new era of Mozart appreciation?
Amadeus, the iconic film that swept the Oscars, Baftas, and Golden Globes four decades ago, not only left its mark on cinema but also sparked a renewed interest in 18th-century classical music. The film's soundtrack, a masterpiece in its own right, sold millions of copies and continues to be one of the top-selling classical albums globally. But here's where it gets controversial: could this mini-series revival, set to release on Sky on December 21st, capture the attention of a new generation in an age of streaming and short attention spans?
The show's musical director, Benjamin Holder, believes so. He describes the music as a character in its own right, with Mozart's voice taking on different forms through both the performances and the score. Each of the five episodes features approximately 115 works by Mozart, offering an unadulterated glimpse into his genius, performed on instruments that authentically replicate the late 18th-century sound.
"The music is like a character in the show," Holder explains. "One version of Mozart's voice is delivered through Will Sharpe's performance as Amadeus, while another version is expressed through the music itself."
Chantelle Woodnutt, the music supervisor, emphasizes the show's commitment to historical accuracy. "It's not just set in period with modern music. We've included works by other classical composers like Salieri, Haydn, and Bach, as well as contemporary folk music from Turkey and Hungary, to showcase how Vienna was a cultural melting pot."
Holder adds, "Everyone involved understood that Mozart's music is inherently cool. It becomes clear that he was a rockstar in his own right."
Will Sharpe, who plays Mozart, learned to play all the music himself. "We started with the piano months in advance," Holder reveals. "Will spent weeks just playing scales."
Sharpe, who came to Mozart's music with fresh eyes, says, "I had my opera epiphany while making this. The music is extraordinary. It's playful, light, mischievous, and dainty in some places, and dark and grand in others."
Rory Kinnear, who plays the music-loving Joseph II, faced a different challenge. "He's an extremely musical character and a brilliant pianist," Holder explains. "The difficulty was making it look plausible when he misses notes while playing Salieri's piece in the first episode."
Simon Callow, who played Mozart in the original 1979 play, believes Peter Shaffer's work helped redefine Mozart's image. "Shaffer broke the porcelain figure image of Mozart that had survived for nearly 200 years. He opened people's ears to Mozart's music, especially those who had no concept of it before."
Martin Cullingford, editor of Gramophone magazine, welcomes the new show. "Anything that makes classical music a compelling part of the story in wider media is a good thing. It might just be the thing that introduces Mozart to a lot of people who haven't encountered his work before."
Cullingford adds, "Borders between genres feel more porous now, thanks to streaming. I'm hopeful that people can explore Mozart's music via streaming services without feeling intimidated by specialist record shops."
Holder agrees, highlighting a jaw-dropping aria from The Magic Flute in episode five. "I'd like to think that watching that will make people say, 'Wow, that's epic.'"
The late conductor Sir Neville Marriner, who recorded the music for the 1984 film, shared similar sentiments. He believed the film's accessibility introduced Mozart to a vast audience, especially younger viewers who might feel intimidated by grand classical music occasions.
"Going around the world, whether it's China or America, one of the first things people want to talk about is Amadeus and how much it influenced their lives," Marriner said.
However, not everyone is cheering the return of Amadeus. Team Salieri might feel a little maligned, especially considering Shaffer's unflattering portrayal of the composer as the "patron saint of mediocrities."
Cullingford notes, "There have been valiant attempts to rehabilitate Salieri's reputation over the years. This show might undo all the good work."
So, will Amadeus capture the hearts and ears of Generation Z the way it did for Generation X? Only time will tell, but one thing's for sure: the show's creators are hoping to make classical music more accessible and compelling for a new audience.
