Antonio salieri and mozart in amadeus

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While “The Marriage of Figaro” starts off well, it ends with some of the audience members creating extreme chaos. However, certain events did connect him with his rival's death. These dramatizations are often either heightened versions of events that happened, or they are completely made up to add to the dramatic moments of the finished movie.

There is no way to know exactly what Salieri promised his God, but he was not chaste or celibate. The one who does grace the wedding is Antonio Salieri, with his spouse, and Mozart appears genuinely happy to see the court composer there. It was the Austrian composer and probably Mozart’s student, Franz Süssmayr.

Entitling Salieri with that role delivers one of the most remarkable scenes of the movie.

An array of his outstanding students all adored him, some of whom were Franz Liszt, Franz Schubert, and the great Ludwig van Beethoven.

So Salieri starts to narrate, in detail. 

That warrants the whole story being told in flashback. In 1781, a decade before Mozart’s untimely death, we find Salieri in Vienna. They described his laughter as an infectious giddy and wrote that the sound of it resembled metal scraping glass. Mozart, in return, asks the emperor to specify the notes he is supposed to take out.

But it yields an opportunity for him to do an opera. With such a pedigree and talent for music, it makes sense that Salieri was a sought-after teacher, even by royalty and other composers.

The film presents Salieri as a successful musician in Mozart's shadow when, in fact, he still had a remarkable reputation, talent, and even somewhat of a fanbase. It throws Joseph off a bit, and while he praises the effort, he asks the maestro to tone it down a little.

Salieri regrets not calling a doctor and letting Mozart practically kill himself, while Mozart forgives the kapellmeister. But Constanza kept denying Salieri that chance, to honor her late husband’s memory, I suppose. The piece was the basis for Peter Schaffer’s play, Amadeus (1979), and Milos Forman’s movie of the same name from 1984.

Cut to the present, i.e., Antonio telling this story to Constanza; he says this was the point in time he decided to kill Mozart.

The rise and fall of Mozart, the Maestro

Mozart not only makes a splash in Vienna as an artist, but he also finds romance there, with Constanza, who happens to be his landlord’s daughter.

Soon enough, Wolfgang and Constanza have a kid, Raymund, and Mozart attempts to compose a mass in order to celebrate the birth of his son. Though he didn't rely on a disguise, he sent messengers and worked in the shadows while Mozart died writing the music. Salieri gets more mad when his librettist, De Ponte, quits in order to work for Mozart—I should mention here that, by this time, Salieri has ascended to the throne of kapellmeister, a title he’ll keep till death.

In the play, published five years after Salieri’s death, Salieri murders Mozart. Fanz went on to compose several works of his own, with his last compositions done under the name of Wolfgang Amadeus Mozart (Son).