Foreign literature of the XX century in a summary. Musical theater "AmaDeus International competitions, shows, competitions

ENGLISH LITERATURE

Peter Shaffer R. 1926 Amadeus -Play (1979)

The action takes place in Vienna in November 1823, and Salieri's recollections date back to the decade 1781-1791. An old man sits in a wheelchair in the foreground with his back to the audience. Vienna citizens repeat to each other the latest gossip: Salieri is the killer! Their whispers are getting louder. Thirty-two years have passed since Mozart's death, why is Salieri talking about it now? Nobody believes Salieri: he is already old and, probably, out of his mind. Salieri gets up from his chair, looks into the auditorium. He calls upon distant descendants to become his confessors. He says that he was a sweet tooth all his life, and asks not to judge him too harshly for this. In addition, he dreamed of fame. He wanted to become famous by composing music. Music is a gift from God, and Salieri prayed to God to make him a great composer, and in return promised to righteous life, help others and praise the Lord in their creations to the end of their days. God heard his plea, and the next day a family friend took young Salieri to Vienna and paid for his music lessons. Soon Salieri was introduced to the emperor, and His Majesty treated the gifted youth favorably. Salieri was glad that his deal with God had taken place. But in the same year that Salieri left Italy, the ten-year-old genius Wolfgang Amadeus Mozart appeared in Europe. Salieri invites the public to watch a performance entitled "The Death of Mozart, or Whether I am to blame." It is his last composition dedicated to distant descendants. Salieri throws off his old robe, straightens up and appears before us as a young man in a ceremonial dress of the eighties of the 18th century. The string quartet of Salieri is played. 1781 Salieri is thirty-one years old, he is a famous composer, he is known at court. He is in love with his student Catarina Cavalieri, but remains faithful to his wife, remembering the vow he made to God. Salieri dreams of becoming Chief Kapellmeister. Suddenly he learns that Mozart is coming to Vienna. The director of the Imperial Opera, Count Orsini-Rosenberg, is ordered to order a comic opera for Mozart. German- the emperor wants to create a national opera. Salieri is alarmed: it seems that the dominance of Italian music is coming to an end. Salieri wants to see Mozart. At an evening with Baroness Waldstaten, he retires to the library to calmly eat sweets, but Constance Weber suddenly runs in, depicting a mouse, followed by Mozart, depicting a cat. Not noticing Salieri, Mozart knocks Constance to the floor, jokes rudely with her and, even making her an offer, cannot refrain from obscene gestures and words. Salieri is shocked by Mozart's vulgarity. But when the concert begins and Salieri hears his music, he realizes that Mozart is a genius. It seems to him that in Mozart's Serenade he hears the voice of God. Salieri plunges into work, begging the Lord to instill his voice in him. He jealously follows Mozart's successes, but the six sonatas, composed in Munich, and the Paris Symphony, and the Great Litany in E flat leave him indifferent. He rejoices that the serenade was a lucky piece of luck that can befall any musician. At the Schönbrunn Palace, Salieri asks the Emperor Joseph II for permission to play a welcome march in honor of Mozart. The march sounds. The Emperor introduces the musicians to each other. Mozart says that he has already written the first act of the commissioned comic opera ... Its action takes place in the seraglio, but the opera is about love and there is nothing obscene in it. The main part will be sung by Catarina Cavalieri, Salieri's favorite student. Mozart thanks Salieri for the welcome march and repeats it as a souvenir, then plays with variations, gradually feeling for the theme of the famous march from Le Nozze di Figaro - “Frisky, curly-haired boy in love”. He delights in his improvisation, completely oblivious to the insult Salieri is inflicting. Salieri wants to write a tragic opera and put Mozart to shame. The Abduction from the Seraglio does not make much of an impression on Salieri. Hearing Katharina's singing, he immediately guesses that Mozart has struck up an affair with her, and suffers from jealousy. The Emperor restrainedly applauds: in his opinion, there are “too many notes” in this opera. Mozart objects: there are as many notes as necessary - exactly seven, no more and no less. Mozart introduces Salieri, whom he considers a friend, his bride, Constance Weber. Salieri wants to take revenge on Mozart for seducing Catarina and take Constance away from him. Mozart marries Constance, but his life is tight: Mozart has few students, and he made a lot of enemies with his intractability. He openly opposes the domination of Italian music, scolds the last words of Salieri's opera "The Chimney Sweep", calls the Emperor a cheapskate Kaiser, rudely jokes at the courtiers who may be useful to him. Princess Elizabeth needs a music teacher, but no one wants to please Mozart. Having met Salieri at the ball at the baroness Waldstaten, Constance asks him to help Mozart get the coveted place. Salieri invites her to his place for a conversation. He also wants to see the scores of Mozart to be convinced of his talent. When Constance comes in secret from her husband, Salieri declares that he is ready to put in a word for Mozart in exchange for her favor. Exit Constance. Salieri understands his baseness, but blames Mozart for everything: it was Mozart who brought the “noble Salieri” to such vileness. He immerses himself in reading scores. The 29th Symphony in A major is heard. Salieri sees that Mozart's rough sketches are completely clean, almost without blots: Mozart simply records the music that sounds in his head, in an already finished, perfect form. Louder and louder the theme of "Kegue" from Mass in C minor is heard. Salieri is smitten. He rebelled against God, whose favorite - Amadei - is Mozart. Why is Mozart so honored? And Salieri's only reward for living a righteous life and hard work is that he alone clearly sees in Mozart the embodiment of God. Salieri challenges God, from now on he will fight him with all his might, and Mozart will become their battlefield. Constance returns unexpectedly. She is ready to surrender to Salieri, but he does not give free rein to his lust: after all, he is fighting not with Mozart, but with the Lord God, who loved him so much. The next day, Salieri seduces Catarina Cavalieri, thereby breaking her vow of chastity. Then he leaves all charitable committees, breaking his oath to help others. He recommends a mediocre musician to the Emperor as a music teacher for Princess Elizabeth. To the emperor's question about Mozart, Salieri replies that Mozart's immorality is such that he should not be allowed close to young girls. The simple-minded Mozart is unaware of Salieri's intrigues and continues to consider him his friend. Salieri's affairs are going uphill: in 1784 and in 1785. the public loves him more than Mozart, although it was during these years that Mozart wrote his best piano concertos and string quartets. The audience applauds Mozart, but immediately forgets his music, and only Salieri and even a few dedicated people know the real value of his creations. Meanwhile, Salieri's operas are staged everywhere and everyone likes: both "Semiramis" and "Danaids" have won a resounding success. Mozart writes The Marriage of Figaro. Baron van Swieten, prefect of the Imperial Library, is shocked by the vulgarity of the plot: the opera should elevate and perpetuate the feats of gods and heroes. Mozart explains to him that he wants to write about real people and events. real life... He wants linen on the floor in the bedroom, sheets to keep warm female body and there was a chamber pot under the bed. He says that all serious operas of the 18th century. terribly boring. He wants to merge the voices of his contemporaries and turn them to God. He is sure that the Lord hears the world in this way: millions of sounds that arise on earth, ascend to him and, merging in his ears, become music unknown to us. Before the premiere of The Marriage of Figaro, the director of the Imperial Opera, Count Orsini-Rosenberg, having looked at the score, tells Mozart that the emperor has forbidden the use of ballet in operas. Mozart argues: the emperor banned inserted ballets, like the French, and not dances, which are important for the development of the plot. Rosenberg rips out the dance sheets from the score. Mozart is furious: two days later, the premiere, and a conspiracy was arranged against him. He scolds the courtiers with his last words. He wants to invite the emperor himself to the rehearsal. Salieri promises to help him, but does nothing. And nevertheless, the emperor comes to the rehearsal. Mozart, thinking that this is Salieri's merit, expresses his gratitude to him. During the performance, dances are performed without musical accompaniment. The Emperor is at a loss. Mozart explains what the matter is, and the emperor gives the order to restore the music. Premiere of the opera The Marriage of Figaro. Salieri is deeply moved by the music, but the emperor yawns and the audience accepts it with restraint. Mozart is upset, he considers his opera a masterpiece and is upset by the cold reception. Salieri consoles him. Mozart would like to go to London, but he has no money. The father refuses to help him, he cannot forgive his son that he turned out to be more talented than him. Mozart receives the news of his father's death and reproaches himself for his disrespectful attitude towards him, Salieri explains to the audience that this is how the vengeful ghost of his father appeared in the opera Don Juan. Salieri decides to resort to the last resort: to starve Mozart to death, to expel the divine from his flesh with hunger. He advises the emperor, who, after the death of Gluck, decided to give Mozart the place of imperial and royal chamber musician, to give him a salary ten times less than what Gluck received. Mozart is offended: for such a salary you can't feed a mouse. Mozart receives an offer to write an opera for ordinary Germans. He comes up with the idea of ​​reflecting the ideals of the Freemasons in popular music. Salieri says that it would be nice to show the Masons themselves on the stage. Mozart realizes that this is impossible: their rituals are kept secret, but he thinks that if you change them a little, then it can serve to preach brotherly love. Salieri approves of his plan, knowing full well that it will anger the Masons. Mozart lives in poverty. He often sees a ghost in gray. Constance thinks that he is not himself and leaves. Mozart tells Salieri that a masked man came to him, like two drops resembling a ghost from his nightmares, and ordered him a Requiem. Mozart finished work on "The Magic Flute" and invites Salieri to the premiere at a modest country theater, where no courtiers will be present. Salieri is overwhelmed by the music. The audience applauds, but van Swieten makes his way through the crowd to the composer, he accuses Mozart of betraying the Order. From now on, the Masons refuse to take part in Mozart, influential people stop communicating with him, Schikaneder, who ordered him the "Magic Flute", does not pay his share of the fees. Mozart works like a man possessed, waiting for the arrival of the masked man who ordered him a Requiem. Salieri confesses to the audience that he got hold of a gray cloak and a mask and every night he passes under the windows of Mozart to herald the approach of his death. On the last day, Salieri stretches out his arms to him and calls for him, like a ghost from his dreams. Mozart, having gathered the rest of his strength, opens the window and pronounces the words of the hero of the opera Don Giovanni, inviting the statue to dinner. A passage from the overture to the opera Don Giovanni is played. Salieri climbs the stairs and enters Mozart. Mozart says that he has not finished the Requiem yet and is kneeling asking for a month extension. Salieri rips off his mask and sheds his cloak. Mozart laughs shrilly in a fit of irresistible terror. But after confusion comes an epiphany: he suddenly realizes that Salieri is to blame for all his misfortunes. Salieri confesses to his atrocities. He calls himself the killer of Mozart. He explains to the audience that recognition so easily escaped his tongue because it was true: he really poisoned Mozart, but not with arsenic, but with everything that the audience saw here. Salieri leaves, Constance returns. She puts Mozart to bed, covers him with a shawl, tries to calm him down. The seventh part of the Requiem, Lacrimosa, is played. Constance talks to Mozart and suddenly realizes that he is dead. The music stops. Salieri says that Mozart was buried in a common grave, with twenty other dead. Then it turned out that the man in the mask, who ordered the Requiem to Mozart, had not been seen by the composer. It was a lackey of a certain Count Walseg, who secretly commissioned Mozart to write an essay in order to pass it off as his own. After Mozart's death, the Requiem was performed as a work of Count Walseg, and Salieri was the conductor. Only many years later did Salieri understand what the punishment of the Lord was. Salieri was universally respected and bathed in glory - and all this thanks to works that were not worth a penny. For thirty years he listened to praise from people who knew nothing about music. And finally, Mozart's music was appreciated, and his music was completely forgotten. Salieri puts on his old robe again and sits in wheelchair... 1823 Salieri cannot accept obscurity. He himself spreads the rumor that he killed Mozart. The louder the glory of Mozart, the stronger his shame will be, thus, Salieri will still gain immortality and the Lord will not be able to prevent it. Salieri tries to commit suicide, but is unsuccessful. In a notebook where visitors write to the deaf Beethoven about the news, there is an entry: “Salieri is completely mad. He continues to insist that he is to blame for the death of Mozart and that it was he who poisoned him. " The newspaper "German Musical News" in May 1825 also reports on the madness of old Salieri, who blames himself for the early death of Mozart, which no one believes. Salieri gets up from his chair and, looking into the auditorium, forgives the sins of mediocrity of all times and peoples. The last four bars of Mozart's funeral march are played. O. E. Grinberg

A source: All the masterpieces of world literature in summary... Plots and characters. Foreign literature XX century. In 2 books. Encyclopedic edition. - Book I (A - I): - M .: "Olympus"; ACT Publishing House LLC, 1997. - 832 p .; Book II (I - I). - 768 p.

The amateur association musical theater “AmaDeus” is a community of musicians who were united by the idea of ​​making a simple theater, close classical music, opera for everyone. Our main task is to create an opera performance, understandable to any spectator, to reveal the beauty of chamber vocal music, to convey the beauty of baroque music to everyone, even an unprepared listener. Our theater has undertaken a difficult mission - to educate the listener, instill in him a taste for classical music and opera singing. Our goal is to interest the viewer who first came to the concert where they perform classical music, opera arias or baroque canzones, so that he wants to return and plunge again into the endless and wonderful world classical vocal music.

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Achievements

All-Russian, interregional shows, contests, competitions

October 2017: V International open competition-festival "Petersburg style". 1 prize place.3rd place Vladimir Proskurin.

November 2016: V Open City Creative Festival-Competition "Primorskaya Star". 2nd place.

International competitions, shows, competitions

December 2015: III Rozhdestvensky Music Festival"Le Stelle Di Natale" - 1st place.

2014: 17th International musical competition"Pietro Argento". Diploma in the nomination for solo vocals and an opera duet.

2014: 16th Euterpe International Music Competition. 2nd Prize Winner in the solo vocals nomination.

• Christmas gala concert "Opera for All" at the Exhibition Center "Petersburg Artist"
• Lyubov Kudinova and Vladimir Proskurin, I. Kalman, "Silva", Duet of Silva and Edwin
• Concert-monograph of the Musical Theater "AmaDeus" dedicated to the work of the Italian composer Gioacchino Antonio Rossini

Participation in events:

6 titles of Laureates and 5 special letters of the jury of the students of the Youth House of the Vasileostrovsky district at the city Festival of amateur creativity of institutions for youth affairs of St. Petersburg

On May 17, 2019, the Oktyabrsky Big Concert Hall hosted a Gala Concert of the Festival of Amateur Creativity of St. Petersburg Youth Institutions, organized by the St. Petersburg Youth House, the Committee for Youth Policy and Interaction with Public Organizations ...

Concert of vocal music "Welcome to the Opera!"

On April 13, 2019, at 16:00, a concert of vocal music "Welcome to the opera!" Soloists of the musical theater "AmaDeus" will perform arias and duets ...

The victory of the DMVO studios at the Festival of amateur creativity of institutions for youth affairs.

OUR LAUREATES And we again tell about the winners of the Festival of amateur creativity of institutions for youth affairs. Nomination “Estado Vocal. Small ensembles "

English Amadeus · 2004

Read in 14 minutes

The action takes place in Vienna in November 1823, and Salieri's recollections date back to the decade 1781-1791.

An old man sits in a wheelchair in the foreground with his back to the audience. The citizens of Vienna repeat the last gossip to each other: Salieri is a murderer! Their whispers are getting louder. Thirty-two years have passed since Mozart's death, why is Salieri talking about it now? Nobody believes Salieri: he is already old and, probably, out of his mind. Salieri gets up from his chair, looks into the auditorium. He calls upon distant descendants to become his confessors. He says that he was a sweet tooth all his life, and asks not to judge him too harshly for this. In addition, he dreamed of fame. He wanted to become famous by composing music. Music is a gift from God, and Salieri prayed to God to make him a great composer, and in return promised to lead a righteous life, help others and praise the Lord in his creations to the end of his days. God heard his plea, and the next day a family friend took the young Salieri to Vienna and paid for his music lessons. Soon Salieri was introduced to the emperor, and His Majesty treated the gifted young man favorably. Salieri was glad that his deal with God had taken place. But in the same year that Salieri left Italy, the ten-year-old genius Wolfgang Amadeus Mozart appeared in Europe. Salieri invites the public to watch a performance entitled "The Death of Mozart, or Whether I am to blame." This is his last work dedicated to distant descendants. Salieri throws off his old robe, straightens up and appears before us as a young man in a formal dress of the eighties of the 18th century. The string quartet of Salieri is played.

1781 Salieri is thirty-one years old, he is a famous composer, he is known at court. He is in love with his student Catarina Cavalieri, but remains faithful to his wife, remembering the vow made to God. Salieri dreams of becoming Chief Kapellmeister. Suddenly he learns that Mozart is coming to Vienna. The director of the Imperial Opera, Count Orsini-Rosenberg, is ordered to order a comic opera in German for Mozart - the emperor wants to create a national opera. Salieri is alarmed: it seems that the dominance of Italian music is coming to an end. Salieri wants to see Mozart. At an evening with Baroness Waldstaten, he retires to the library to calmly eat sweets, but Constance Weber suddenly runs in, depicting a mouse, followed by Mozart, depicting a cat. Not noticing Salieri, Mozart knocks Constance to the floor, jokes rudely with her and, even making her an offer, cannot refrain from obscene gestures and words. Salieri is shocked by Mozart's vulgarity. But when the concert begins and Salieri hears his music, he realizes that Mozart is a genius. It seems to him that in Mozart's Serenade he hears the voice of God. Salieri plunges into work, begging the Lord to instill his voice in him. He jealously follows Mozart's successes, but the six sonatas composed in Munich and the Paris Symphony and the Great Litany in E flat leave him indifferent. He rejoices that the serenade was a lucky piece of luck that can befall any musician. At the Schönbrunn Palace, Salieri asks the Emperor Joseph II for permission to play a welcome march in honor of Mozart. The march sounds. The Emperor introduces the musicians to each other. Mozart says he has already written the first act of the commissioned comic opera. Its action takes place in the seraglio, but the opera is about love and there is nothing obscene in it. The main part will be sung by Catarina Cavalieri, Salieri's favorite student. Mozart thanks Salieri for the welcoming march and repeats it as a souvenir, then plays with variations, gradually feeling for the theme of the famous march from Le Nozze di Figaro - “Frisky, curly-haired, in love boy”. He delights in his improvisation, completely oblivious to the insult Salieri is inflicting. Salieri wants to write a tragic opera and put Mozart to shame. The Abduction from the Seraglio does not make much of an impression on Salieri. Hearing Katharina's singing, he immediately guesses that Mozart has struck up an affair with her, and suffers from jealousy. The Emperor restrainedly applauds: in his opinion, there are “too many notes” in this opera. Mozart objects: there are as many notes as necessary - exactly seven, no more and no less. Mozart introduces Salieri, whom he considers a friend, his bride, Constance Weber. Salieri wants to take revenge on Mozart for seducing Catarina and take Constance away from him.

Mozart marries Constance, but his life is tight: Mozart has few students, and he made a lot of enemies with his intractability. He openly opposes the domination of Italian music, scolds the last words of Salieri's opera "The Chimney Sweep", calls the Emperor a cheapskate Kaiser, rudely jokes at the courtiers who may be useful to him. Princess Elizabeth needs a music teacher, but no one wants to please Mozart. Having met Salieri at the ball at the baroness Waldstaten, Constance asks him to help Mozart get the coveted place. Salieri invites her to his place for a conversation. He also wants to see the scores of Mozart to be convinced of his talent. When Constance comes in secret from her husband, Salieri declares that he is ready to put in a word for Mozart in exchange for her favor. Exit Constance. Salieri understands his baseness, but blames Mozart for everything: it was Mozart who brought the “noble Salieri” to such vileness. He immerses himself in reading scores. The 29th Symphony in A major is heard. Salieri sees that Mozart's rough sketches are completely clean, almost without blots: Mozart simply records the music that sounds in his head, in an already finished, perfect form. Louder and louder the theme of "Kegue" from Mass in C minor is heard. Salieri is smitten. He revolts against God, whose favorite - Amadei - is Mozart. Why is Mozart so honored? And Salieri's only reward for living a righteous life and hard work is that he alone clearly sees in Mozart the embodiment of God. Salieri challenges God, from now on he will fight him with all his might, and Mozart will become their battlefield.

Constance returns unexpectedly. She is ready to surrender to Salieri, but he does not give vent to his lust: after all, he is fighting not with Mozart, but with the Lord God, who loved him so much. The next day, Salieri seduces Catarina Cavalieri, thereby breaking her vow of chastity. Then he leaves all charitable committees, breaking his oath to help others. He recommends a mediocre musician to the Emperor as a music teacher for Princess Elizabeth. To the emperor's question about Mozart, Salieri replies that Mozart's immorality is such that he should not be allowed close to young girls. The simple-minded Mozart is unaware of Salieri's intrigues and continues to consider him his friend. Salieri's affairs are going uphill: in 1784 and in 1785. the public loves him more than Mozart, although it was during these years that Mozart wrote his best piano concertos and string quartets. The audience applauds Mozart, but immediately forgets his music, and only Salieri and even a few dedicated people know the real value of his creations.

Meanwhile, Salieri's operas are staged everywhere and everyone likes: both "Semiramis" and "Danaids" have won a resounding success. Mozart writes The Marriage of Figaro. Baron van Swieten, prefect of the Imperial Library, is shocked by the vulgarity of the plot: the opera should elevate and perpetuate the feats of gods and heroes. Mozart explains to him that he wants to write about real people and real life events. He wants linen on the floor in the bedroom, sheets to keep the warmth of a woman's body, and a chamber pot under the bed. He says that all serious operas of the 18th century. terribly boring. He wants to merge the voices of his contemporaries and turn them to God. He is sure that the Lord hears the world in this way: millions of sounds that arise on earth, ascend to him and, merging in his ears, become music unknown to us. Before the premiere of The Marriage of Figaro, the director of the Imperial Opera, Count Orsini-Rosenberg, having looked at the score, tells Mozart that the emperor has forbidden the use of ballet in operas. Mozart argues: the emperor banned inserted ballets, like the French, and not dances, which are important for the development of the plot. Rosenberg rips out the dance sheets from the score. Mozart is furious: two days later, the premiere, and a conspiracy was arranged against him. He scolds the courtiers with his last words. He wants to invite the emperor himself to the rehearsal. Salieri promises to help him, but does nothing. And nevertheless, the emperor comes to the rehearsal. Mozart, thinking that this is Salieri's merit, expresses his gratitude to him. During the performance, dances are performed without musical accompaniment. The Emperor is at a loss. Mozart explains what the matter is, and the emperor gives the order to restore the music. Premiere of the opera The Marriage of Figaro. Salieri is deeply moved by the music, but the emperor yawns and the audience accepts it with restraint. Mozart is upset, he considers his opera a masterpiece and is upset by the cold reception. Salieri consoles him. Mozart would like to go to London, but he has no money. The father refuses to help him, he cannot forgive his son that he turned out to be more talented than him.

Mozart receives the news of his father's death and reproaches himself for his disrespectful attitude towards him, Salieri explains to the audience that this is how the vengeful ghost of his father appeared in the opera Don Juan. Salieri decides to resort to the last resort: to starve Mozart to death, to expel the divine from his flesh with hunger. He advises the emperor, who, after the death of Gluck, decided to give Mozart the place of imperial and royal chamber musician, to give him a salary ten times less than what Gluck received. Mozart is offended: you can't feed a mouse for such a salary. Mozart receives an offer to write an opera for ordinary Germans. He comes up with the idea of ​​reflecting the ideals of the Freemasons in popular music. Salieri says that it would be nice to show the Masons themselves on the stage. Mozart realizes that this is impossible: their rituals are kept secret, but he thinks that if you change them a little, then it can serve to preach brotherly love. Salieri approves of his plan, knowing full well that it will anger the Masons.

Mozart lives in poverty. He often sees a ghost in gray. Constance thinks that he is not himself and leaves. Mozart tells Salieri that a masked man came to him, like two drops resembling a ghost from his nightmares, and ordered him a Requiem. Mozart finished work on "The Magic Flute" and invites Salieri to the premiere at a modest country theater, where no courtiers will be present. Salieri is overwhelmed by the music. The audience applauds, but van Swieten makes his way through the crowd to the composer, he accuses Mozart of betraying the Order. From now on, the Masons refuse to take part in Mozart, influential people stop communicating with him, Schikaneder, who ordered him the "Magic Flute", does not pay his share of the fees. Mozart works like a man possessed, waiting for the arrival of the masked man who ordered him a Requiem. Salieri confesses to the audience that he got hold of a gray cloak and a mask and every night he passes under the windows of Mozart to herald the approach of his death. On the last day, Salieri stretches out his arms to him and calls for him, like a ghost from his dreams. Mozart, having gathered the rest of his strength, opens the window and pronounces the words of the hero of the opera Don Giovanni, inviting the statue to dinner. A passage from the overture to the opera Don Giovanni is played. Salieri climbs the stairs and enters Mozart. Mozart says that he has not finished the Requiem yet and is kneeling and asking for a month extension. Salieri rips off his mask and sheds his cloak. Mozart laughs shrilly in a fit of irresistible terror. But after confusion comes an epiphany: he suddenly realizes that Salieri is to blame for all his misfortunes.

Salieri confesses to his atrocities. He calls himself the killer of Mozart. He explains to the audience that recognition so easily escaped his tongue because it was true: he really poisoned Mozart, but not with arsenic, but with everything that the audience saw here. Salieri leaves, Constance returns. She puts Mozart to bed, covers him with a shawl, tries to calm him down. The seventh part of the Requiem, Lacrimosa, is played. Constance talks to Mozart and suddenly realizes that he is dead. The music stops. Salieri says that Mozart was buried in a common grave, with twenty other dead. Then it turned out that the man in the mask, who ordered the Requiem to Mozart, had not been seen by the composer. It was a lackey of a certain Count Walseg, who secretly commissioned Mozart to write an essay in order to pass it off as his own. After Mozart's death, the Requiem was performed as a work by Count Walseg, and Salieri was the conductor. Only many years later did Salieri understand what the punishment of the Lord was. Salieri was universally respected and bathed in glory - and all this thanks to compositions that were not worth a penny. For thirty years he listened to praise from people who knew nothing about music. And finally, Mozart's music was appreciated, and his music was completely forgotten.

Salieri puts on his old robe and sits in a wheelchair. 1823 Salieri cannot accept obscurity. He himself spreads the rumor that he killed Mozart. The louder the glory of Mozart, the stronger will be his shame, thus, Salieri will still gain immortality and the Lord will not be able to prevent it. Salieri tries to commit suicide, but is unsuccessful. In a notebook where visitors write to the deaf Beethoven about the news, there is an entry: “Salieri is completely mad. He continues to insist that he is to blame for the death of Mozart and that it was he who poisoned him. " The newspaper "German Musical News" in May 1825 also reports on the madness of old Salieri, who blames himself for the early death of Mozart, which no one believes.

Salieri gets up from his chair and, looking into the auditorium, forgives the sins of mediocrities of all times and peoples. The last four bars of Mozart's funeral march are played.

Retold

En Amadeus) is a film directed by Milos Forman based on the play of the same name. 8 Oscars, 32 more awards and 13 nominations. The film received an MPAA - R rating (children under 17 are allowed to watch with their parents). "/> Drama
Musical film ">

"Amadeus"(en Amadeus) is a film directed by Milos Forman based on the play of the same name. 8 Oscars, 32 more awards and 13 nominations. The film received an MPAA - R rating (children under 17 are allowed to watch with their parents).

The play was written in 1979 by Peter Schaeffer, inspired by the tragedy of Alexander Pushkin "Mozart and Salieri" and the opera of the same name by Nikolai Rimsky-Korsakov, which, in turn, were a free interpretation of the biographies of composers Wolfgang Amadeus Mozart and Antonio Salieri.

Plot

"Amadeus" - tragic story Antonio Salieri, capable but not brilliant composer, who appears before us at the beginning as a gentle, kind and very religious person, but in the end he converges in a fierce battle with God. This story raises many questions about the relationship with the Lord, about the nature of genius and jealousy. The key theme of the film is why the Creator gives people the desire to achieve anything (in this case, to become a brilliant composer), but does not give equivalent abilities.

The film begins in an insane asylum, where old Salieri ended up after a suicide attempt. A young priest comes to confess him, and Salieri tells him the story of his life, and the events of the film take us to Vienna thirty years earlier ...

Salieri's history dates back to the days when he was a court composer at the court of Emperor Joseph II (played by Geoffrey Jones). He is successful and popular, content with his life and music. He is grateful to God, to whom he has sworn eternal fidelity, for the granted success and glory. He has not yet met Mozart, but he has heard a lot about him and his music. Salieri is intrigued by his popularity and seeks a meeting with him at one of the parties. But when he finally notices Mozart, it comes as a shock to him, because he sees him crawling on his haunches and dirty flirting with Konstanz Weber (who later became Mozart's wife). Salieri is shocked, he does not understand how such beautiful music can be written by this young fool.

Over time, after a series of painful humiliations, Salieri realizes that all his works are insignificant in comparison with the music of Mozart. He cannot understand why God betrayed him. Why endowed such a great talent with the blasphemous Mozart, and not him, Salieri? Antonio Salieri, who was a devout Catholic all his life, cannot believe that God chose Mozart and not him for such a great gift. But most of all, Salieri cannot understand why the Lord, who had previously favored his desire for music, then crushed him so cruelly. One day he exclaims in despair: “All I ever wanted was to just sing to the Lord. He gave me the desire for this, which lives like a thirst in my body, but denied me the talent. Why?!".

The themes of creativity, genius and death have worried artists at all times. The play Amadeus addresses these issues through the prism of the lives of two 18th century composers - Wolfgang Amadeus Mozart and Antonio Salieri.

... Salieri himself tells about the events at the court of the Austrian Emperor Joseph II from the stage. The action takes place in Vienna in November 1823, and Salieri's memories date back to the decade 1781-1791. The citizens of Vienna repeat the last gossip to each other: "Salieri is a murderer!" Thirty-two years have passed since Mozart's death, so why is Salieri talking about it now? Nobody believes Salieri: he is old and probably out of his mind, but he calls upon distant descendants to become his confessors.

What does a living composer want when he suddenly announced his house with confessions of repentance? "Attach" your dying name to the name of someone who will not be forgotten? In this old man there is a heavy gift not to lie to himself, not even to lie, to see himself - in his past and his present - as he is. According to him, he is "offended" by everyone: God, nature, fate - and, of course, Mozart ...

... Music is a gift from God, and Salieri prayed to God to make him a great composer, and in return promised to lead a righteous life, help others and praise the Lord in his creations to the end of his days. God heard his plea, and the next day a family friend took young Salieri to Vienna and paid for his music lessons. Soon Salieri was introduced to the emperor, and His Majesty treated the gifted youth favorably. Salieri was glad that his "deal" with God took place. But in the same year, when Salieri left Italy, the ten-year-old genius Wolfgang Amadeus Mozart appeared in Europe ...

The production of "Amadeus" is not a story about "genius and villainy", but a story about the temptation of glory, about what envy is and what it leads to in the end. The bliss of genius. And eternal bliss. This is what Amadeus is talking about. Mozart loves music, Salieri longs for it: all other differences are not so significant.

The play "Amadeus" (in Latin, this name literally means "beloved by God") contains all the components of a high-quality spectacle: a win-win drama, interesting directorial discoveries, stylish scenography (during the performance, it is planned to reconstruct authentic Baroque opera performances of the late eighteenth century), chic costumes and the widest opportunities for acting.

It is certainly worth remembering that the story of Salieri Mozart's poisoning is a myth: a long-standing legend connects Salieri's name with Mozart's as his alleged killer. In Russia, thanks to Pushkin's little tragedy "Mozart and Salieri" (1831), set to music by Rimsky-Korsakov (1898), the name Salieri has become a household name for "envious mediocrity." The legend of Salieri's involvement in Mozart's death is circulating in some other countries, as evidenced by Peter Schaeffer's play "Amadeus" (1979) and the film of the same name based on it.

Worked on the play:

• Stage Director - Anne Celler, France
• Conductor - Eduard Nam
• Set Designer - Alexey Votyakov
• Costume Designers - Alexey Votyakov, Gulnur Khibatullina
• Choreographer - Gennady Bakhterev
• Choirmaster-director - Tatiana Pozhidaeva
• Director's Assistant - Honored Artist of the Russian Federation Nadezhda Lavrova
• Director Assistant - Helga Weiser
• Author of the idea - Maxim Kalsin

"Amadeus" Peter Schaeffer, play-confession in two acts and four operas, 16+

• March 16, 2019, Saturday, beginning at 18:00

NSduration: 2h40min. with intermission

Ticket prices: 200, 300, 400, 500, 700 rubles

Theater box office: 26-70-86
Collective applications: 26-71-50
Site: www.dramteatr.com

REFERENCE:

In March 2015. Drama theater them. A.S. Pushkin celebrated his professional holiday - Theater Day with a sparkling humor skit, called "What is the artist bringing home?" The skit has collected the best episodes from the recently played performances. In the theater on the second floor, a photo session with young artists was organized, as well as fitting on the luxurious dress of the court ladies from the play "Evenings on a Farm near Dikanka".

And literally a few days after the holiday, main director Theater Maxim Kalsin said that the Theater is starting to implement the long-awaited project-play "Amadeus". The team of the Drama Theater named after A.S. Pushkin became the proud owner of the Grant of the head of the city "Inspiration". Since 2011 The grant from the head of the city is awarded by a special commission, which includes the vice-mayor of the city, the head of the culture department and other famous persons for the implementation of cultural projects significant for Magnitogorsk.

At a press conference, Maxim Kalsin noted that this will be a unique project for our city. It turns out that the idea of ​​creating a synthesis of opera and drama has long haunted the main director. The creative concept is based on the creation of the grandiose musical performance "Amadeus" based on the play by Peter Schaeffer and Pushkin's "Mozart and Salieri". Maxim Kalsin told reporters about his creative ideas in detail. More than 80 people will take part in this grand production. There will be a chorus Symphony Orchestra and theatrical performance. "Our" will play, "opera" - will sing, - said Maxim Kalsin, adding that one of the artists of the Magnitogorsk Opera will get one dramatic role.

Naturally, this ambitious project uniting the efforts of the two Theaters will require significant material costs. “Initially, we counted this project“ to the maximum ”and“ to the minimum, ”said Kalsin. - We planned serious lighting equipment to the maximum. According to him, the light is in a difficult situation in the theater. But Grant closes just the minimum version, which includes sets, costumes, director's fee ... Therefore: “We will stage with our own light,” Maxim Kalsin told reporters.

By the way, about the director of the project .. French actress Anne Celler. And first of all, the journalists were worried about the question of whether the French actress would be able to find a common language with the troupe of the Russian theater and realize the idea of ​​the project. Answering this question, Maxim Kalsin noted that the choice of the director was not accidental. Anne Celler since 1990 to 1997 worked as an actress in the Magnitogorsk Drama Theater, in the troupe of the Dushanbe director V. Akhadov. Ann knows very well the actors of the “older generation” theater. She also, as it turned out, studied in France as a director and has extensive experience in drama theater productions.

At a press conference, Ann Seller confessed to Magnitogorsk journalists that all these years she had not lost contact with the Russian theater, talked about how she received a director's education and managed to raise a child. But she has not worked on opera performances before, so she hopes for the support of the conductor and director. opera house... “Amadeus” is the story of Salieri, ”the director explained her vision of the play. - The most the main role- this is Salieri, the person who hears the music of Mozart. And we, the audience, will listen to this music like Salieri. Therefore, music has a very important role in the production. Salieri is like us. Unfortunately, we are all not like Mozart. "

According to M. Kalsin's idea, it is the music of the great Mozart that will become the main one. actor". It will sound throughout the entire performance. Replacing each other, the Magnitogorsk viewer will be presented with fragments from different musical works Mozart, parts of concerts and symphonies, rehearsals and parts of operas that great composer demonstrates to the emperor. Amadeus will become unusual musical performance included in the Drama Theater's list of productions, it will run in blocks like Broadway musicals. “I immediately thought of this performance as a gift to our city. - said Maxim Kalsin. The fact that such a project is being implemented in Magnitogorsk, which everyone can see, will become a real holiday for connoisseurs of the city's culture and art. " Live symphonic music by Mozart, performed by the orchestra of the Magnitogorsk Opera and Ballet Theater, costumes and sets representing Austria in the 18th century, the tragedy and confession of Salieri, an ingenious dramatic basis (in 1985, the film Amadeus according to Schaeffer's script won 8 Oscars) - all this will undoubtedly evoke a strong response in the hearts of Magnitogorsk residents and guests of the city. The premiere will take place in the fall of 2015. and the production is planned to be carried out until all comers have attended this stunning performance. So, let's look forward to autumn ... ..