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God gave the world the miracle of Mozart!
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Michael Kunze and Silvester Levay's second collaboration after Elisabeth, based on the life of Wolfgang Amadeus Mozart.

Like Amadeus, it's by no means accurate. It blends elements of reality and the Mozart mythos (much of which was perpetuated by his widow Constanze). There are three main conflicts: The first one is between Wolfgang and Leopold Mozart, the father loving the son wholeheartedly but unable to let him go, and the son wanting to please his father but unable to succeed, and ending up sabotaging their relationship forever. The second one is between Mozart and his patron Colloredo, the former not amused by having his personal and artistic freedom curtailed, refusing to bow down to nobility and power, the latter angry over the fact that a lowly tunesmith managed to scorn everything he had ever stood for and yet achieved perfection. The final one is between Mozart himself and Amadè, the porcelain child, a symbol of his genius, as they have an All Take and No Give relationship on the part of Amadè.

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The musical made its world premiere at the Theater an der Wien in 1999, starring Yngve Gasoy-Romdal as Mozart, Thomas Borchert as Leopold Mozart, and Uwe Kröger as Colloredo. A DVD of the revival cast was recorded in Raimund Theater, Vienna, in 2015. It starred Oedo Kuipers as Mozart, Sophie Wilfert as Amadè (both pictured), Thomas Borchert reprising his role as Leopold Mozart, and Mark Seibert as Prince Colloredo. Both of the above productions have released cast recordings as well.


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This musical provides the following tropes:

  • Ambiguous Disorder: Kuipers' Mozart displays many of the traits associated with people on the autism spectrum.note 
    • 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 No Social Skills. 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.
  • Anachronism Stew:
    • 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.
    • Colloredo wears jeans beneath his dressing gown in "Ich bleibe in Wien!". Emanuel Schikaneder's costume also features a pair of denim.
    • The Webers drive an RV.
  • Bad Girl Song: Irgendwo wird immer getanzt for Constanze, about how she will prioritize her happiness over duty, as there is always a dance going on somewhere.
  • Be Careful What You Wish For: 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 In-Universe and in Real Life.
  • BSoD Song: Mozarts Verwirrung, a frenetic, manic, atonal nightmare. Also, Was für ein grausames Leben.
  • The Casanova: Emanuel Schikaneder, almost always seen with two beauties on either side. Yes, he was this in real life too.
  • Creepy Child: Amadè. 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.
  • Cute Mute: When Amadè isn't being creepy, he is this.
  • Cross-Cast Role: 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.
  • Dark Is Evil: 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.
  • Deadly Decadent Court: Vienna, "where they kiss you on the hand and stab you in the back."
  • Discussed Trope:
    • It's Popular, Now It Sucks!: 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.
    • Three Chords and the Truth: Mozart's counter-argument to Colloredo's opinion.
  • Fanservice: Lots, catering to audiences of various inclinations.
    • Colloredo tends to be played by Mr. Fanservice. Getting a Shirtless Scene note  and well-fitting costumes with high boots and leather gloves doesn't hurt, either.
    • The motherly Baroness von Waldstatten, as played by Ana Milva Gomes is a gorgeous Big Beautiful Woman in sharp contrast to the slim and lithe blonde Nannerl (Barbara Obermeier) or brunette Constanze (Franziska Schuster). Her dress in "Hier in Wien" also provides a good view of her cleavage.
    • Four words: Mozart in boxer shorts.
  • Funny Background Event: 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 faces. It's accidentally funny.
      • 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.
  • Getting Crap Past the Radar: A literal case. Eagle-eyed viewers of the DVD may notice that during "Wien wird mich um ihn beneiden", when Colloredo ducks behind a screen, an attendant can be seen grabbing a chair with a hole in it. Said chair is used for the bathroom.
  • Gratuitous Italian: Wolfgang breaks into some while complimenting Aloysia's singing.
  • Grief Song: Mozart gets two. Was für ein grausames Leben after his mother dies, and Schliess dein Herz in Eisen ein (Reprise) after Leopold dies.
  • Historical Villain Upgrade:
    • Pity 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 Gold Digger, whose final act of cruelty is to take the money off a 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 Married to the Job. 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.
    • While not made villainous altogether, Antonio Salieri here doesn't hold a high opinion of Mozart or his music.
  • "I Am Great!" Song: Ich bin extraordinär.
  • "I Am" Song:
    • Wolfgang Mozart: Ich bin, ich bin musik... note 
    • Emanuel Schikaneder: Ein Bissel für's Hirn und ein Bissel für's Herz. note 
    • Constanze Mozart, née Weber: Irgendwo wird immer getanzt. note 
    • Archbishop Colloredo: Wie kann es möglich sein? note  It's also an "I Am Becoming" Song.
  • Last-Name Basis: 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.
  • Lecherous Licking: Colloredo licks his lips right after Mozart tells him to kiss the composer's arse during "Ich bleibe in Wien". He's not leering, but the two of them have a very intense Held Gaze moment. Too bad Colloredo ruined it by ordering Arco to kick Mozart out.
  • Musical Chores: The first bit of Wo bleibt Mozart? is Colloredo's household preparing for the arrival of the Prince.
  • Man in White: Wolfgang, in contrast to Leopold and Colloredo's black costumes. It symbolizes his purity and childishness, contrasted with the "cold and cunning" world.
  • Mood Whiplash: "Mozart, Mozart!" talks about how heavenly Mozart's genius gift of music is, and how superhuman he seems to the rest of humanity. Smash cut to "Mozarts Tod", which is the very human Mozart weak and dying, as Amadè continues to bleed him dry.
  • Mythology Gag: 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 The Magic Flute. The role and aria was written for Josepha Hofer, Mozart's sister-in-law, and there's an anecdote that Mozart heard Josepha singing this on his deathbed.
  • Obnoxious In-Laws: Constanze is the White Sheep of the Webers, who are amoral gold-diggers with a terrible fashion sense.
  • Oh, Crap!: In the original staging, this is Wolfgang's reaction when he realizes the Porcelain Child actually thinks that 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 Wolfgang gets no warning and gets stabbed midsentence.
  • Parental Love Song: 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.
  • Parents as People: 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).
  • Pop-Cultural Osmosis: 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 The Magic Flute.
  • Replacement Goldfish: Leopold attempts to offer his grandson as the new prodigy for Colloredo. The prince refuses, preferring his Mozart.
  • Romanticism Versus Enlightenment: 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?
  • Sarcastic Clapping: Colloredo enters the stage for Der einfache Weg with this.
  • Shirtless Scene: 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.
  • Significant Wardrobe Shift:
    • Little Amadè note , turns into the Porcelain Child 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.
      • When Mozart bursts in on him during Ich bleibe in Wien, he's in a reddish-purple 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 ''outwardly angry, controlling and possessive'', to ''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.
  • Sinister Minister: Colloredo, being the Prince-Archbishop, pulls double duty with The Evil Prince.
  • Sound-Effect Bleep: 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] UCKED!", turning it into a Precision F-Strike. The English subtitles helpfully fill in the censored words in brackets, though.
  • Spell My Name with an "S": Not even the real Mozart was consistent in whether it should be Amadè or Amadé. During the DVD credits, though, the character is named as Amadè.
  • Stage Dad: An Older Than Radio example in the form of Leopold Mozart.
  • Tenor Boy: The borderline-childish, romantic, tortured Mozart is one.
  • "The Hero Sucks" Song: Wolfgang beats himself up on his deathbed.
  • Too Good for This Sinful Earth: Baroness von Waldstätten explicitly says Mozart is this in the song just before his death.
  • Translation Train Wreck: 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  (Wien wird mich um ihn beneiden,)
  • True Blue Femininity: The motherly Baroness von Waldstätten is attired in a deep blue robe and hood, evoking imagery of the Virgin Mary.
  • Try to Fit THAT on a Business Card!: Some characters' real life full names are this.
    • Johannes Chrysostomus Wolfgangus Theophilus Mozart.
    • Hieronymus Joseph Franz de Paula Graf Colloredo von Wallsee und Melz.
    • Maria Constanze Cäcilia Josepha Johanna Aloysia Mozart.
  • Villainous Lament: 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.
  • Villain Song: Colloredo gets two - Wo bleibt Mozart? and Der einfache Weg, though the latter fits the bill more.
  • "Well Done, Son!" Guy: Wolfgang was this to Leopold, but Leopold died without forgiving his son.
  • Wham Line: "Wolfgang... Papa is dead."

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