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* ShirtlessScene: ''Ich bleibe in Wien'' gives the audience full view of the spectacular abs of whoever is playing Colloredo, as he is making out with his paramour when Mozart forces his way in. Uwe Kröger, original Colloredo, wore a robe and his golden cross. Mark Seibert ditched the cross.
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* BeCarefulWhatYouWishFor: Leopold, concerned for Wolfgang's future, notes that as a child prodigy Mozart is a wonder, but as an adult he would just be one musician among many. He then says that he wishes Wolfgang would stay a child forever. Well, he doesn't have to worry - his son did become one of the most famous composers of all time, but also gained a reputation of being a {{Manchild}}, both InUniverse and in RealLife.
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* CreepyChild: Amadè;. [[spoiler: Casually stabbing Wolfgang with a quill, first in the arm, then in the heart, to get his blood for the sheet music]] with a miffed expression isn't the least of it.
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* TheCasanova: Emanuel Schikaneder, almost always seen with two beauties on either side. Yes, he was this in real life too.
* CreepyChild:Amadè;.Amadè. [[spoiler: Casually stabbing Wolfgang with a quill, first in the arm, then in the heart, to get his blood for the sheet music]] with a miffed expression isn't the least of it.
* CreepyChild:
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* TranslationTrainWreck: The DVD has at least two glaringly funny errors: "What do want, Prince Colloredo?" (''Der einfache Weg'') and "I shall ensure he obeys and falls ''prostate'' at my glance." [[note]]Don't you mean ''prostrate'', Your Highness?[[/note]] (''Wien wird mich um ihn beneiden,'')
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* OhCrap: In the original staging, this is Wolfgang's reaction when he realizes the Porcelain Child actually thinks that [[spoiler: killing him]] is a good idea. Wolfgang frantically backs away to the other side of the bed as Amadè advances on him. This is excised in the revival, where Woldgang got no warning and gets [[spoiler: stabbed]] midsentence.
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* OhCrap: In the original staging, this is Wolfgang's reaction when he realizes the Porcelain Child actually thinks that [[spoiler: killing him]] is a good idea. Wolfgang frantically backs away to the other side of the bed as Amadè advances on him. This is excised in the revival, where Woldgang got Wolfgang gets no warning and gets [[spoiler: stabbed]] midsentence.
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* OhCrap: In the original staging, this is Wolfgang's reaction when he realizes the Porcelain Child actually thinks that [[spoiler: killing him]] is a good idea. Wolfgang frantically backs away to the other side of the bed as Amadè advances on him. This is excised in the revival, where Woldgang got no warning and gets [[spoiler: stabbed]] midsentence.
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* CreepyChild: Amadé. [[spoiler: Casually stabbing Wolfgang with a quill, first in the arm, then in the heart, to get his blood for the sheet music]] with a miffed expression isn't the least of it.
* CuteMute: When Amadé isn't being creepy, he is this.
* CrossCastRole: Amadé, the porcelain child, is the symbol of Mozart's genius. He has been played by actors and actresses alike. Sophie Wilfert plays him on the DVD.
* CuteMute: When Amadé isn't being creepy, he is this.
* CrossCastRole: Amadé, the porcelain child, is the symbol of Mozart's genius. He has been played by actors and actresses alike. Sophie Wilfert plays him on the DVD.
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* CreepyChild: Amadé.Amadè;. [[spoiler: Casually stabbing Wolfgang with a quill, first in the arm, then in the heart, to get his blood for the sheet music]] with a miffed expression isn't the least of it.
* CuteMute: WhenAmadé Amadè isn't being creepy, he is this.
* CrossCastRole:Amadé, Amadè, the porcelain child, is the symbol of Mozart's genius. He has been played by actors and actresses alike. Sophie Wilfert plays him on the DVD.
* CuteMute: When
* CrossCastRole:
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* ManInWhite: Wolfgang, in contrast to Leopold and Colloredo's black costumes. It symbolizes his purity and childishness, contrasted with the "cold and cunning" world.
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* SignificantWardrobeShift:
** Little Amadè [[note]]Mozart's actual child-self[[/note]], turns into the Porcelain Child [[note]]symbolic of Mozart's genius[[/note]] after the Baroness (the one voice in the show who steadfastly supports Mozart's talents and dreams) puts the coat Empress Maria Theresia gave him on the boy. It's Prince Maximillian's old coat and standard princely raiment, which ties in with Mozart's assertion in Colloredo's face that his genius makes him a prince who is equal, if not mightier than, the "provincial lordling". It's made most obvious in the curtain call, where Colloredo and Amadè stands on either side of Mozart in the exact same costume, only that the boy wears a wig.
** As for Colloredo, he has his own wardrobe shifts as well.
*** In his first appearance, he wears the standard red-gold prince costume, and is merely dismissive of Mozart's affront as he didn't take kindly to the upstart musician scorning his authority.
*** Aversion (almost as an interlude/{{Foreshadowing}}): During ''Wien wird mich um ihn beneiden,'' he is traveling and ducks behind a screen ostensibly to change, but when the actor pops up to angrily declare (in a rather possessive voice) that Mozart is not to go to fairgrounds, he's still wearing the same clothing.
*** When Mozart bursts in on him during ''Ich bleibe in Wien'', he's in a [[PurpleIsPowerful reddish-purple]] [[RedIsViolent robe]], leaving his chest exposed as well as his emotions: he makes no secret of his anger that Mozart is trying to flee from him.
*** For the rest of the show, he wears his Archbishop costume: black, with a heavy gold cross. During ''Wie kann es möglich sein'', he calls upon God multiple times for guidance in his confusion on why and how Mozart could have attained perfection. After this, his manner towards Wolfgang changes for ''Der einfache Weg'', his final song. It goes from [[TheEvilPrince ''outwardly angry, controlling and possessive'']], to [[SinisterMinister ''insufferably magnanimous and condescending'']]. He stresses that as Mozart is blessed by God, he cannot condemn him, but he can help Mozart elevate his art to a higher plane above the rabble. He also tries to manipulate Wolfgang by pointing out that Leopold would have wanted him to return.
** Little Amadè [[note]]Mozart's actual child-self[[/note]], turns into the Porcelain Child [[note]]symbolic of Mozart's genius[[/note]] after the Baroness (the one voice in the show who steadfastly supports Mozart's talents and dreams) puts the coat Empress Maria Theresia gave him on the boy. It's Prince Maximillian's old coat and standard princely raiment, which ties in with Mozart's assertion in Colloredo's face that his genius makes him a prince who is equal, if not mightier than, the "provincial lordling". It's made most obvious in the curtain call, where Colloredo and Amadè stands on either side of Mozart in the exact same costume, only that the boy wears a wig.
** As for Colloredo, he has his own wardrobe shifts as well.
*** In his first appearance, he wears the standard red-gold prince costume, and is merely dismissive of Mozart's affront as he didn't take kindly to the upstart musician scorning his authority.
*** Aversion (almost as an interlude/{{Foreshadowing}}): During ''Wien wird mich um ihn beneiden,'' he is traveling and ducks behind a screen ostensibly to change, but when the actor pops up to angrily declare (in a rather possessive voice) that Mozart is not to go to fairgrounds, he's still wearing the same clothing.
*** When Mozart bursts in on him during ''Ich bleibe in Wien'', he's in a [[PurpleIsPowerful reddish-purple]] [[RedIsViolent robe]], leaving his chest exposed as well as his emotions: he makes no secret of his anger that Mozart is trying to flee from him.
*** For the rest of the show, he wears his Archbishop costume: black, with a heavy gold cross. During ''Wie kann es möglich sein'', he calls upon God multiple times for guidance in his confusion on why and how Mozart could have attained perfection. After this, his manner towards Wolfgang changes for ''Der einfache Weg'', his final song. It goes from [[TheEvilPrince ''outwardly angry, controlling and possessive'']], to [[SinisterMinister ''insufferably magnanimous and condescending'']]. He stresses that as Mozart is blessed by God, he cannot condemn him, but he can help Mozart elevate his art to a higher plane above the rabble. He also tries to manipulate Wolfgang by pointing out that Leopold would have wanted him to return.
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* DiscussedTrope:
** ItsPopularNowItSucks: Colloredo tries to convince Mozart to return to him after the success of ''The Magic Flute'', claiming that Wolfgang needs his help to elevate his music beyond the rabble.
** ThreeChordsAndTheTruth: Mozart's counter-argument to Colloredo's opinion.
** ItsPopularNowItSucks: Colloredo tries to convince Mozart to return to him after the success of ''The Magic Flute'', claiming that Wolfgang needs his help to elevate his music beyond the rabble.
** ThreeChordsAndTheTruth: Mozart's counter-argument to Colloredo's opinion.
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* ItsPopularNowItSucks: Colloredo tries to convince Mozart to return to him after the success of ''The Magic Flute'', claiming that Wolfgang needs his help to elevate his music beyond the rabble.
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Michael Kunze and Silvester Levay's second collaboration after Theatre/{{Elisabeth}}, based on the life of Creator/WolfgangAmadeusMozart.
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Michael Kunze and Silvester Levay's second collaboration after Theatre/{{Elisabeth}}, based on the life of Creator/WolfgangAmadeusMozart.Music/WolfgangAmadeusMozart.
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* WhamLine: "Wolfgang... Papa is [[spoiler: dead.]]"
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* PopCulturalOsmosis: Wolfgang is the only one in the pub who clapped and shouted "Bravo!" when Schikaneder announced that he is in town to play a show. Emanuel Schikaneder is the theatrical impresario, librettist, director, and actor who would later collaborate, in-show and in real life, with Mozart on Theatre/TheMagicFlute.
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* TryToPutThatOnABusinessCard: Some characters' real life full names are this.
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* TryToPutThatOnABusinessCard: TryToFitThatOnABusinessCard: Some characters' real life full names are this.
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** Maria '''Constanze''' Cäcilia Josepha Johanna Aloysia Mozart.
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** Maria '''Constanze''' Cäcilia Josepha Johanna Aloysia Mozart.
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* LastNameBasis: As needed by the period. Aversions: the protagonist is also referred to as Wolfgang, or Wolfie, when he's not just Mozart. Leopold is called Papa by his children, and "Mozart senior" by others, to avoid confusion with his son.
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* TryToPutThatOnABusinessCard: Some characters' real life full names are this.
** Johannes Chrysostomus '''Wolfgang'''us Theophilus Mozart.
** Hieronymus Joseph Franz de Paula Graf '''Colloredo''' von Wallsee und Melz.
** Maria '''Constanze''' Cäcilia Josepha Johanna Aloysia Mozart.
** Johannes Chrysostomus '''Wolfgang'''us Theophilus Mozart.
** Hieronymus Joseph Franz de Paula Graf '''Colloredo''' von Wallsee und Melz.
** Maria '''Constanze''' Cäcilia Josepha Johanna Aloysia Mozart.
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* DeadlyDecadentCourt: Vienna, "where they kiss you on the hand and stab you in the back."
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* GratuitousItalian: Wolfgang breaks into some while complimenting Aloysia's singing.
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* MythologyGag: Cäcilia and Constanze's argument over whether the latter should coerce Wolfgang to marry her is sung partially to the tune of Der hölle Rache, also known as the Queen of the Night aria from Theatre/TheMagicFlute.
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* TheHeroSucksSong: Wolfgang beats himself up on his [[spoiler: deathbed]].
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* TooGoodForThisSinfulEarth: Baroness von Waldstätten explicitly says Mozart is this in the song just before [[spoiler:his death.]]
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* BadGirlSong: ''Irgendwo wird immer getanzt'' for Constanze, about how she will prioritize her happiness over duty, as there is always a dance going on somewhere.
* BSODSong: ''Mozarts Verwirrung'', a frenetic, manic, atonal nightmare. Also, ''Was für ein grausames Leben''.
* BSODSong: ''Mozarts Verwirrung'', a frenetic, manic, atonal nightmare. Also, ''Was für ein grausames Leben''.
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* GriefSong: Mozart gets two. ''Was für ein grausames Leben'' after [[spoiler: his mother dies]], and ''Schliess dein Herz in Eisen ein (Reprise)'' after [[spoiler: Leopold dies]].
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* IAmGreatSong: ''Ich bin extraordinär''.
* IAmSong:
** Wolfgang Mozart: ''Ich bin, ich bin musik...'' [[note]]I am, I am music.[[/note]]
** Emanuel Schikaneder: ''Ein Bissel für's Hirn und ein Bissel für's Herz.'' [[note]]Something for the head and something for the heart.[[/note]]
** Constanze Mozart, née Weber: ''Irgendwo wird immer getanzt.'' [[note]]Someone is always dancing somewhere.[[/note]]
** Archbishop Colloredo: ''Wie kann es möglich sein?'' [[note]]How can it be possible?[[/note]] It's also an IAmBecomingSong.
* IAmSong:
** Wolfgang Mozart: ''Ich bin, ich bin musik...'' [[note]]I am, I am music.[[/note]]
** Emanuel Schikaneder: ''Ein Bissel für's Hirn und ein Bissel für's Herz.'' [[note]]Something for the head and something for the heart.[[/note]]
** Constanze Mozart, née Weber: ''Irgendwo wird immer getanzt.'' [[note]]Someone is always dancing somewhere.[[/note]]
** Archbishop Colloredo: ''Wie kann es möglich sein?'' [[note]]How can it be possible?[[/note]] It's also an IAmBecomingSong.
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* MusicalChores: The first bit of ''Wo bleibt Mozart?'' is Colloredo's household preparing for the arrival of the Prince.
* ParentalLoveSong: ''Schliess dein Herz in Eisen ein'' showcases Leopold's love and fear for his son. ''Niemand liebt dich so wie ich'' as well - it's right in the title, ''No one loves you as I do.''
* ParentalLoveSong: ''Schliess dein Herz in Eisen ein'' showcases Leopold's love and fear for his son. ''Niemand liebt dich so wie ich'' as well - it's right in the title, ''No one loves you as I do.''
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* SoundEffectBleep: During ''Ich bin extraordinär'', Cäcilia censors Wolfgang's swearing by tooting a horn in Arco's face. Averted for the very last "get f- [dialogue] UUUUUUUUCKED!", turning it into a PrecisionFStrike. The English subtitles helpfully fill in the censored words in brackets, though.
* TenorBoy: The borderline-childish, romantic, tortured Mozart is one.
* TenorBoy: The borderline-childish, romantic, tortured Mozart is one.
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* VillainousLament: ''Wie kann es möglich sein'', for Colloredo. He's shocked and confused that he has been defeated by a man who scorned what he has stood for all his life.
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* RomanticismVersusEnlightenment: ''Wie kann es möglich sein?'' is Colloredo wrestling with this trope.
--> '''Colloredo''': How can it be that reason, the light of the world, is vanquished by the magic of music?
--> '''Colloredo''': How can it be that reason, the light of the world, is vanquished by the magic of music?
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* DarkIsEvil: The antagonists (that is to say, anyone who tries to curtail Wolfgang's freedom) are dressed in black - Colloredo's household, eventually the Prince himself, and Leopold Mozart.
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* SinisterMinister: Colloredo, being the Prince-Archbishop, pulls double duty with TheEvilPrince.
* TrueBlueFemininity: The motherly Baroness von Waldstätten is attired in a deep blue robe and hood, evoking imagery of the Virgin Mary.
* TrueBlueFemininity: The motherly Baroness von Waldstätten is attired in a deep blue robe and hood, evoking imagery of the Virgin Mary.
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* HistoricalVillainUpgrade:
** Poor the actual Colloredo, whose reputation in the English-speaking world has been smeared beyond repair. In real life, Mozart's behavior was justifiable for his patron to turn him away. The musical flat out turns him into Mozart's abusive, controlling ex.
** Cäcilia Weber (Mozart's mother-in-law) and the composer actually got along in real life, but here she is turned into a GoldDigger, whose final act of cruelty is to take the money off a [[spoiler: dead]] Mozart.
** Constanze Nissen (formerly Mozart, née Weber) is an interesting case, in that the musical initially shows her as cold and callous at Mozart's grave, then spends the show explaining that behavior as her being unable to cope with Mozart being MarriedToTheJob. She says in ''Irgendwo wird immer getanzt'' that she would mourn him in her own way, and that people should not expect her to stand at his grave and weep. Nevertheless, in-show she did abandon him while he was under duress. In real life, she was much more involved in Mozart's work while he was alive, and was responsible for a good chunk of the Mozart mythos.
* ItsPopularNowItSucks: Colloredo tries to convince Mozart to return to him after the success of ''The Magic Flute'', claiming that Wolfgang needs his help to elevate his music beyond the rabble.
** Poor the actual Colloredo, whose reputation in the English-speaking world has been smeared beyond repair. In real life, Mozart's behavior was justifiable for his patron to turn him away. The musical flat out turns him into Mozart's abusive, controlling ex.
** Cäcilia Weber (Mozart's mother-in-law) and the composer actually got along in real life, but here she is turned into a GoldDigger, whose final act of cruelty is to take the money off a [[spoiler: dead]] Mozart.
** Constanze Nissen (formerly Mozart, née Weber) is an interesting case, in that the musical initially shows her as cold and callous at Mozart's grave, then spends the show explaining that behavior as her being unable to cope with Mozart being MarriedToTheJob. She says in ''Irgendwo wird immer getanzt'' that she would mourn him in her own way, and that people should not expect her to stand at his grave and weep. Nevertheless, in-show she did abandon him while he was under duress. In real life, she was much more involved in Mozart's work while he was alive, and was responsible for a good chunk of the Mozart mythos.
* ItsPopularNowItSucks: Colloredo tries to convince Mozart to return to him after the success of ''The Magic Flute'', claiming that Wolfgang needs his help to elevate his music beyond the rabble.
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* SarcasticClapping: Colloredo enters the stage for ''Der einfache Weg'' with this.
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* AnachronismStew:
** In order to symbolize Mozart being ahead of his time, he's dressed in modern clothing compared to the rest of the cast, who mostly wear period-appropriate pieces. He even plays an electric guitar onstage during ''Ich bin extraordinär''.
** The Webers drive an RV.
** In order to symbolize Mozart being ahead of his time, he's dressed in modern clothing compared to the rest of the cast, who mostly wear period-appropriate pieces. He even plays an electric guitar onstage during ''Ich bin extraordinär''.
** The Webers drive an RV.
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*** Sophie Wilfert looks like a child watching her parents scream in each other's faces. CrossesTheLineTwice, maybe, but her expression inspires laughter rather than tears.
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*** Sophie Wilfert looks like a child watching her parents scream in each other's faces. CrossesTheLineTwice, maybe, but her expression inspires laughter rather than tears.It's accidentally funny.
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*** Sophie Wilfert looks like a child watching her parents scream in each other's faces. CrossesTheLineTwice, maybe, but her expression inspires laughter rather than [[TearJerker tears]].
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*** Sophie Wilfert looks like a child watching her parents scream in each other's faces. CrossesTheLineTwice, maybe, but her expression inspires laughter rather than [[TearJerker tears]].tears.
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*** Sophie Wilfert looks like a child watching her parents scream in each other's face.
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*** Sophie Wilfert looks like a child watching her parents scream in each other's face. faces. CrossesTheLineTwice, maybe, but her expression inspires laughter rather than [[TearJerker tears]].
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** Jon Geoffrey Goldsworthy's Arco reacting to Mozart and Colloredo's fight.
** Sophie Wilfert looks like a child watching her parents scream in each other's face.
** Colloredo petulantly storming out and knocking chairs over as Mozart is ejected from the premises.
** Sophie Wilfert looks like a child watching her parents scream in each other's face.
** Colloredo petulantly storming out and knocking chairs over as Mozart is ejected from the premises.
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* FunnyBackgroundEvent: On the DVD.
** The confused stagehand to the right of the screen during ''Der einfache Weg''.
** ''Ich bleibe in Wien'':
** Jon Geoffrey Goldsworthy's Arco reacting to Mozart and Colloredo's fight.
** Sophie Wilfert looks like a child watching her parents scream in each other's face.
** Colloredo petulantly storming out and knocking chairs over as Mozart is ejected from the premises.
*** A little bit earlier: While Mozart is trying to get past Arco, who is refusing entry because the Archbishop is "otherwise engaged", Colloredo can be seen passionately making out with a paramour, both of them half-dressed.
** The confused stagehand to the right of the screen during ''Der einfache Weg''.
** ''Ich bleibe in Wien'':
** Jon Geoffrey Goldsworthy's Arco reacting to Mozart and Colloredo's fight.
** Sophie Wilfert looks like a child watching her parents scream in each other's face.
** Colloredo petulantly storming out and knocking chairs over as Mozart is ejected from the premises.
*** A little bit earlier: While Mozart is trying to get past Arco, who is refusing entry because the Archbishop is "otherwise engaged", Colloredo can be seen passionately making out with a paramour, both of them half-dressed.
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* WellDoneSonGuy: Wolfgang was this to Leopold, but [[spoiler: Leopold died without forgiving his son.]]
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* WellDoneSonGuy: Wolfgang was this to Leopold, but [[spoiler: Leopold died without forgiving his son.]]]]
----
----
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[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/mozart_vbw_1443184669569444.jpg]]
[[caption-width-right:350:''God gave the world the miracle of Mozart!'']]
Michael Kunze and Silvester Levay's second collaboration after Theatre/{{Elisabeth}}, based on the life of Creator/WolfgangAmadeusMozart.
----
!!This musical provides the following tropes:
* AmbiguousDisorder: Kuipers' Mozart displays many of the traits associated with people on the autism spectrum.
** He's very blunt - he says what he means, and he means what he says, refusing to kowtow to anyone. He even sasses the Emperor, who luckily take it in stride.
** He has NoSocialSkills. Leopold even says outright that he is "too childish for the cold and cunning game of life,".
** His spending habits show a lack of foresight. Examples include his sending money to Mannheim for the Webers while his mother is starving, and his gambling away the money he intended to send his sister for her marriage.
** He's rocking back and forth in a fetal position (hard to spot because he's sitting on a piano stool) during ''Niemand liebt dich so wie ich (Reprise)''.
** During ''Papa ist tot'', at news of a tragic event, he puts his thumb in his mouth as Constanze is trying to comfort him and Nannerl is saying she would never forgive him.
** Music is his special interest, which has many repetitive movements (especially piano playing), suitable for self-stimulation/stimming.
* CreepyChild: Amadé. [[spoiler: Casually stabbing Wolfgang with a quill, first in the arm, then in the heart, to get his blood for the sheet music]] with a miffed expression isn't the least of it.
* CuteMute: When Amadé isn't being creepy, he is this.
* CrossCastRole: Amadé, the porcelain child, is the symbol of Mozart's genius. He has been played by actors and actresses alike. Sophie Wilfert plays him on the DVD.
* ParentsAsPeople: Averted with Mozart's mother, but much of the conflict is between Leopold's love for his son and Wolfgang's desire to be free (and need to please his father).
* ReplacementGoldfish: Leopold attempts to offer his grandson as the new prodigy for Colloredo. The prince refuses, preferring ''his'' Mozart.
* WellDoneSonGuy: Wolfgang was this to Leopold, but [[spoiler: Leopold died without forgiving his son.]]
[[caption-width-right:350:''God gave the world the miracle of Mozart!'']]
Michael Kunze and Silvester Levay's second collaboration after Theatre/{{Elisabeth}}, based on the life of Creator/WolfgangAmadeusMozart.
----
!!This musical provides the following tropes:
* AmbiguousDisorder: Kuipers' Mozart displays many of the traits associated with people on the autism spectrum.
** He's very blunt - he says what he means, and he means what he says, refusing to kowtow to anyone. He even sasses the Emperor, who luckily take it in stride.
** He has NoSocialSkills. Leopold even says outright that he is "too childish for the cold and cunning game of life,".
** His spending habits show a lack of foresight. Examples include his sending money to Mannheim for the Webers while his mother is starving, and his gambling away the money he intended to send his sister for her marriage.
** He's rocking back and forth in a fetal position (hard to spot because he's sitting on a piano stool) during ''Niemand liebt dich so wie ich (Reprise)''.
** During ''Papa ist tot'', at news of a tragic event, he puts his thumb in his mouth as Constanze is trying to comfort him and Nannerl is saying she would never forgive him.
** Music is his special interest, which has many repetitive movements (especially piano playing), suitable for self-stimulation/stimming.
* CreepyChild: Amadé. [[spoiler: Casually stabbing Wolfgang with a quill, first in the arm, then in the heart, to get his blood for the sheet music]] with a miffed expression isn't the least of it.
* CuteMute: When Amadé isn't being creepy, he is this.
* CrossCastRole: Amadé, the porcelain child, is the symbol of Mozart's genius. He has been played by actors and actresses alike. Sophie Wilfert plays him on the DVD.
* ParentsAsPeople: Averted with Mozart's mother, but much of the conflict is between Leopold's love for his son and Wolfgang's desire to be free (and need to please his father).
* ReplacementGoldfish: Leopold attempts to offer his grandson as the new prodigy for Colloredo. The prince refuses, preferring ''his'' Mozart.
* WellDoneSonGuy: Wolfgang was this to Leopold, but [[spoiler: Leopold died without forgiving his son.]]
