Amadeus

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and hence are “no better than servants” (1,3). This applies especially to the king. For example, in , His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It’s purpose is to “celebrate the eternal in man” says Van Swieten (2,4). Meaning that there ...

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opposing the Age of Enlightenment and the commands of the high society by abandoning them through language and themes of his operas. Despite the fact that the nobility will be upset, Mozart aspires to do pieces about “real people” set in a “real place” and in the real language of the people (2,4). He explains to Van Swieten that he wants his operas in German in order to communicate with the majority about the most exciting thing on earth, that is, reality. He believes that art should be sensual and creatural and passionate because that is the human condition. Such as love. Love is not permanent but it is fleeting and brief. Mozart does not want to compose ...

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