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Antonio Salieri: Court
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Anselm Huttenbrenner reported that Salieri always spoke of Mozart "with exceptional respect," and the two composers were on friendly enough terms so that Salieri would loan Mozart scores from the court library. Apart from Constanze's remark, there exists no independent evidence to conclude that Salieri and Mozart were on bad terms. On the contrary, their relationship may have been a healthy professional one.
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Although the story revolves around the life, and more importantly the death, of one of Europe's greatest composers, Amadeus is a memory play, told from the perspective of Mozart's greatest rivals, Antonio Salieri. Cursed with the ability to perceive greatness but never attain it, Salieri's envy of the new young upstart composer is made manifest over the course of three hours, culminating in Mozart's ruination and public disgrace, all orchestrated masterfully by the Court Composer masquerading as Amadeus's closest friend.
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Whether or not Salieri actually poisoned Mozart and killed him quickly, or simply denied him the means to make a living and killed him slowly, is beside the point of Shaffer's drama. In either case, the story provides an excellent premise for us to appreciate Mozart's prodigious gifts—brought alive through clavichord simulations and Craig Breitenbach's sound design—and to indulge in the opulence of the Hapsburg court—highlighted by John Iacovelli's ornate, gilded set and David Kay Mickelsen's plush costumes.
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People tend to think of Salieri as the Iago to Mozart's Othello: A spinner of diabolical schemes who eventually is undone by his own jealousy. The Salieri of his portraits in La Scala's museum - the prominent nose, pursed lips and intelligent, if tired, eyes - has nearly been eclipsed by the villainous visage of, well, F. Murray Abraham. In the 1984 Milos Forman film "Amadeus," Abraham portrayed Salieri as an urbane Viennese court figure and a grimacing hack so threatened by Mozart's genius that he plotted to do away with him. The movie increased Salieri's notoriety, but its tag line, "Everything you've heard is true," only enforced centuries of character assassination.
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It has, of course, been proven that Salieri had absolutely nothing to do with the Requiem. Also, for that matter, that when he went to see the Magic Flute, it was with Mozart and the singer Cavallieri (whom we see in the film – the ditz who’s had by Mozart) and that he cried bravo after every number. He resigned his position at court after Joseph died and Leopold took the throne and systematically undid everything that Joseph did, on principle. He lived an overlong life afterwards and taught, among others, Hummel, Beethoven, Schubert and Liszt.
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Music historians have long held that Salieri's compositions merit attention, even if only to better explore the Viennese musical world that orbited Mozart's brilliant star. Both Salieri and Mozart composed at the Hapsburg court, where Salieri served in various roles for 50 years, 36 of them as court Kappelmeister.
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