Product Description

0riginating at the National Theatre of Great Britain, Amadeus was the recipient of both the Evening Standard Drama Award and the Theatre Critics Award. In the United States, the play won the coveted Tony Award and went on to become a critically acclaimed major motion picture winning eight Oscars, including Best Picture.

Now, this extraordinary work about the life of Wolfgang Amadeus Mozart is available with a new preface by Peter Shaffer and a new introduction by the director of the 1998 Broadway revival, Sir Peter Hall. Amadeus is a must-have for classical music buffs, theatre lovers, and aficionados of historical fiction.

Product Details

• Amazon Sales Rank: #59477 in Books
• Published on: 2001-08-01
• Released on: 2001-08-07
• Original language: English
• Number of items: 1
• Binding: Paperback
• 160 pages

Features

• ISBN13: 9780060935498
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

From The Washington Post
"Amadeus is a rich theatrical experience you're likely to repeat for many a year."

Review
"Peter Shaffer's infalliable instinct for what makes riveting theatre is again demonstrated in his awesomely talented new play Amadeus." -- --Sunday Express

"Shaffer orchestrates this gripping and fascinating conflict with consummate skill and delicious wit." -- --Saturday Review

About the Author
Peter Shaffer is a dramatist familiar to American audiences as the author of Equus and of a string of other theatrical successes: Five Finger Exercise, the Private Ear and the Public Eye, The Royal Hunt of the Sun and Black Comedy.

Customer Reviews

Spectacular Speculation
I first became familiar with this story after seeing the movie "Amadeus." The movie made me curious about the facts in the lives of its two main characters, Wolfgang Amadeus Mozart and Antonio Salieri. While not necessarily factual, this play by Peter Shaffer is an intelligent and fascinating examination of two men's suffering: pain in both mediocrity and genius.

The play is fast-paced and a relatively easy read. Shaffer paints an elaborate picture of both composer's lives during the time in which they lived. Shaffer's portrait of Salieri is richly written, his thoughts are revealed to the reader/audience through direct speeches and sidebars. Characters act as moving set pieces - their dialogue starting or ending as they carry furniture on and off stage to change scenes.

Shaffer's play is an examination into the ruin of both men. Mozart is ruined by his lifestyle and his lack of funding; the citizens and rulers of Vienna find him rude and offensive. They fail to understand the unfamiliar directions his genius is taking the musical world. Salieri is ruined by his fall into mediocrity and obscurity when Mozart arrives in town, the musician blessed by God, and through his plots that lead to Mozart's downfall. While much about the play is based on speculation, it never rings false because of the strong portrayls of each man.

Having just recently seen this version of the play performed, it is obvious why Shaffer struggled with getting the character of Salieri "just right." He finds absolution in his final act - confessing his sins to his created audience, and not to the creator he once yearned to serve.

The Play's The Thing
I first saw this play during its original run on Broadway. I went to see it with my college drama class. I had no idea what to expect. The amazing Ian McKellen played Salieri, and from the moment the play began until the final curtain, I was mesmerized. I skipped the other play we had tickets for and went back to see "Amadeus" again in "standing room". The play is wonderful, yes. But I truly think its ultimate success depends upon the actors playing the roles of Salieri and Mozart. I think the original Broadway cast was a once-in-a-lifetime group, but I'm looking forward to the upcoming Broadway revival. Read the play, and then go see it come to life!

Goodness is nothing in the furnace of art
Shaffer illustrates an incredible conflict in Amadeus, alltogether permeated by the dark themes of jealousy, hatred, and death. Showing the apparent mutual exclusivity between intelligence and virtue, the true strength of the play lies inextricably in the character of Court Composer Salieri. It is a testement to the skill of Shaffer that I almost thought Salieri's motive as evil, but perhaps justified. In him I saw myself, striking out at God for his cruelty, for his preferential and exclusive love. Not only the writing but the stage directions are done incredibly well. Everything is as it should be, not a song at an inappropriate time, not a note misplaced. The character of Mozart is best embodied in the performance of Don Giovanni, where Shaffer describes him as "quailing" before the dark and demanding figure of his father. This is a masterpiece of pain and jealousy, timeless and impenetrable plagues of humanity.