Mike Leghorn wrote:

>1) I thought it was ridiculous how lively and happy Mozart looked when
>he conducted.  The only advise he have to the musicians was "early", or
>"late".  I don't think the conductor's role even existed in Mozart's time.
>Didn't the first conductors conduct from the keyboard, or with their violin
>bows?

I've stayed out of this thread so far, so for the record, I loved Amadeus,
have seen it a number of times, and credit the movie for totally and
completely changing my approach to playing Mozart.

But to the remark at hand, goodness, why shouldn't Mozart look happy
and lively?? What about conductors today? If they look happy with what
they're doing are they pandering to a gullible public? I just played the
29th Symphony with Barry Sargent, who actually somewhat resembles Mozart,
conducting last week.  It was one of the finest performances I have played
in my life, but by Mike's criteria Barry's conducting was "ridiculous."

The role of conductor in Mozart's day was different; indeed it wasn't
guy with a stick on a little box waving his arms and looking dashing, it
was always a player in the band, the keyboard guy or the first fiddler.
Whether this was the always case in an opera orchestra or if Mozart leading
from the podium was accurate historically I don't know.  But the musicial
role was the same, leading the group, setting tempos, adjusting balance,
and saying "early" or "late" essentially the same as a professional
conductor in 2002.

>2) The show for the commoners seemed pretty ridiculous to me.  Aw!  How
>sweet!  Mozart with his family, sitting among normal people, enjoying
>entertainment provided by the seedy elements.

I thought that scene was terrific and entirely believable. Again, scenes
like this, little details like him writing on the pool table and idly
flipping a ball around (also historically accurate I'm told) are the
little things that made Mozart human for me, thus changing the way I
play his music.

>4) The production of Don Giovanni was gimmick laden so as to get it's point
>across to an obtuse, opera hating public.

Actually weren't the opera scenes staged by someone quite famous for modern
opera productions? Is it thought-provoking in the Met but gimmick-laden if
it's in a film? Are the excesses and gimmicks historically inaccurate? Or
are we being just the tiniest bit snobby about all this?

Dave Runnion
Mallorca, Spain