Mozart and Salieri (Motsart i… | Details | AllMusic
Nikolai Rimsky-Korsakov. Mozart and Salieri (Motsart i Sal'yeri), opera in 1 act, Op. Composition Information ↓; Description ↓; Appears On ↓. Share on. Mozart and Salieri can refer to: The historical relationship between two classical composers, Mozart and Salieri · Mozart and Salieri (play), play by Alexander Pushkin (); Mozart and Salieri (opera), one-act opera in two scenes by Nikolai Rimsky-Korsakov (); Mozart & Salieri, ballet after Pushkin by. Salieri cleverly took advantage of Mozart's fondness for drink, his financial crisis the libretto for a one-act opera of the same name by Nikolai Rimsky-Korsakov.
Next year the renovated La Scala in Milan is to reopen its doors with the work Salieri wrote for its very first performance back in And now Cecilia Bartoli has recorded an album devoted to his music. With an artist of Bartoli's clout on his side, it's safe to say that we're going to be hearing a lot more of Salieri the composer.
And Salieri the poisoner? Sadly for those who like a good conspiracy theory, there's no evidence that he was any such thing.
It's time to reappraise the man as well as his music. If Salieri wasn't the enviously wrathful schemer of Forman's imagination, who was he?
We have frustratingly little first-hand information. But the picture drawn by Volkmar Braunbehrens's biography is of a serious, steady, occasionally irascible man.
There are, however, mentions of him as friendly and cheerful, and the Irish singer Michael Kelly, a good friend of Mozart, assures us that Salieri "would make a joke of anything".
What is certain is that bywhen the year-old Mozart set up home in Vienna, Salieri, six years his senior, was an established star. Born in the northern Italian town of Legnano inhe had been brought to Vienna aged 15, where he was introduced to his later mentor, Gluck, and to the emperor, Joseph II. Salieri was invited to join in chamber music sessions with the emperor, and soon found himself launched on a career in the imperial court.
His appointment in as court composer and conductor of the Italian opera made him one of the most influential musicians in Europe. An ambitious young composer such as Mozart could conceivably have wished Salieri out of the way, but the other way round? Salieri was already working on Tarare, to a libretto by Beaumarchais himself, a work that would be a hit in Paris.
And if Mozart's collaborations with the librettist Lorenzo da Ponte bore greater fruit than Salieri's? Well, no matter - it was Salieri, after all, who could claim credit for bringing Da Ponte to Vienna.
Motsart i Sal’yeri (Mozart and Salieri), Opera in One Act () — American Symphony Orchestra
True, after their first opera together flopped the composer swore he would rather have his fingers chopped off than work with him again, but he relented in time to write several that were far more successful. However, if what Mozart's wife Constanze reported was true, there was one incident that might conceivably have sparked a rivalry.
She claimed that Salieri had been offered Da Ponte's libretto for Cosi Fan Tutte - and had rejected it as being not worth setting.Mozart and Salieri, Rimsky-Korsakov New York Premiere 1981
When Mozart got his hands on it, a humiliated Salieri had to eat his words. Otherwise, though, any tensions between the two seem more like office politics.
While the connection with Mozart derived largely from the coincidence in subject matter in The Stone Guest, in Mozart and Salieri it is central. In Scene One, Mozart sings the appropriate snippet from The Marriage of Figaro as he describes the blind fiddler he has just encountered in a tavern performing his music. It is a forgettable trifle. Alexander Dargomizhsky received no professional training as a composer and his music was—and still is—rarely heard in performance. Nonetheless, he left an indelible imprint on the history of Russian music, a legacy due chiefly to his radical conception for the opera, The Stone Guest.
Frustrated and embittered by the lack of success of his earlier, more conventional, operatic ventures—in circumstances where the odds were heavily stacked against homegrown Russian opera in the first place—Dargomizhsky set his sights on reform. In this darker and much simpler tale, Salieri, jealous of Mozart's skill as a composer and resentful of his low character, invites Mozart to dinner.
Was Mozart actually poisoned by Salieri? Here's the truth - Classic FM
They play almost a cat-and-mouse game until Salieri finally gets a chance to pour poison into Mozart's drink. Salieri's celebratory song hints at a descent into insanity.
Unfortunately, there will be no unmasking of the true perpetrator today. The cause of Mozart's death in is as much debated today as it was then; and if poison was indeed the instrument, there is anything but a consensus on who might have been the assassin. History makes no secret of the fact that Mozart and Salieri were professional rivals. During their years together in Vienna, Salieri was greatly respected professionally.
Emperor Joseph II liked him a lot, and Salieri held successive roles as court composer, director of Italian opera, and court conductor.
Mozart and Salieri
Mozart and their mutual friends often spoke openly of Salieri's efforts to influence the availability of theaters and performers to favor his own shows at the expense of Mozart's. Salieri owned Italian opera in Vienna, and Mozart's forays into the genre were a clear step on Salieri's toes. Other composers in other genres had no such problems with Salieri, and neither did Mozart when he avoided Italian opera.
- The feud that never was
- Mozart and Salieri (Motsart i Sal'yeri), opera in 1 act, Op. 48
There was no need for Salieri to kill Mozart to get him out of the way; Salieri's position in the industry gave him all the power he needed. At the core of the question of Salieri's guilt is an enduring legend that he gave a deathbed confession. Insome 32 years after Mozart's death, Salieri did indeed make a failed suicide attempt by cutting his own throat.
Rumors quickly spread that he had confessed to killing Mozart, and these rumors became so widespread and persistent that a leaflet was distributed at a Vienna performance of Beethoven's Ninth Symphony depicting Salieri standing over Mozart with a cup of poison. Mozart's music was widely loved by this time, and with his alleged killer still alive, public fever over the murder ran high.
But the hatred of Salieri was not unanimous.
Was Mozart actually poisoned by Salieri? Here's the truth
Those who knew Salieri and defended him against the rumors, and the much larger Court of Public Opinion composed largely of people who had not known either man and had little firsthand knowledge. No reliable evidence exists that Salieri ever made such a confession. The best anyone's come up with is described in a pamphlet published in Moscow inwherein author Igor Boelza claims he was told by another man who had since died that he'd once seen a report of the confession written by Salieri's priest.
He also alleged that the deceased man showed the report to a number of academics, whom he fails to name. No such report is known to exist — which would be a huge discovery to any academic who had actually seen it — so judge the reliability of Boelza's pamphlet for yourself.
What does exist is a written statement from two men who were Salieri's hour caregivers during the last two years of his life, stating that they never heard him make any such confession. There is also an anecdote that Salieri once took the very young composer Rossini to meet Beethoven at his home in Vienna.
Beethoven allegedly turned Rossini away and shouted "How dare you come to my house with Mozart's poisoner?
Salieri had tutored Beethoven, and the two had always been friends. Beethoven held his tutor in such high esteem that, even after Mozart's death, he dedicated his violin sonatas Opus 12 to Salieri, and wrote a series of variations on a theme from Salieri's opera Falstaff. So even this anecdote seems unreliable.