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Our last guests on Soundtracking are Will Sharpe and Paul Bettany, who join us to discuss Amadeus. Available to watch on Sky and Now TV, it's a reworking of Peter Shaffer's classic play, in which the precocious composer arrives in Vienna and soon makes an enemy of court composer Salieri.
In dieser Episode widmen sich Chris und Michael einem der bedeutendsten Stoffe der Filmgeschichte: „Amadeus“. Während der Filmklassiker für Chris seit Jahren zu den persönlichen Favoriten zählt, begab sich Michael auf völlig neues Terrain - er hatte das Original bis zu dieser Aufnahme noch nie gesehen. Die Diskussion startet mit einer ungewöhnlichen Herangehensweise: Auf Chris' Drängen hin schaute Michael zuerst die neue Sky/HBO-Serie und erst danach das mehrfach preisgekrönte Kinowerk. Dieser Perspektivwechsel ermöglicht eine unvoreingenommene Analyse der narrativen Strukturen. Die beiden Podcaster beleuchten, wie die Serie versucht, die komplexen Charaktere tiefer zu ergründen, während der Film die legendäre, wenn auch historisch fiktive Rivalität zwischen Salieri und Mozart in den Vordergrund stellt. Ein Kernpunkt der Analyse ist die Darstellung des Antonio Salieri. Chris und Michael diskutieren, wie Paul Bettany in der Serie und F Murray Abraham im Film die Zerrissenheit des Komponisten verkörpern. Dabei wird deutlich: In der Neuinterpretation erhält Salieri mehr Raum für seine eigenen Unsicherheiten und Kämpfe. Besonderes Augenmerk legen die beiden zudem auf: Konstanze Mozart: In der Serie wird ihr eine deutlich eigenständigere Rolle und Entwicklung zugestanden als in der Kinofassung. Emotionalität vs. Satire: Während das Original oft satirische Züge trägt, besticht die Serie durch einen ernsteren, emotionaleren Unterton. Vater-Sohn-Dynamik: Wie die Beziehung zwischen Mozart und seinem Vater die Inszenierung maßgeblich beeinflusst. Abschließend ziehen Chris und Michael einen direkten Vergleich. Sie bewerten beide Produktionen hinsichtlich ihrer schauspielerischen Finesse und atmosphärischen Dichte. Trotz des Respekts für die moderne Herangehensweise der Serie stellt sich die Frage, ob sie die ikonische Intensität des Originals erreichen kann. Haben die neuen Perspektiven den Blick auf die Geschichte bereichert oder bleibt das Kino-Original unangefochten auf dem Thron? Chris und Michael laden die Zuhörer ein, ihre eigenen Eindrücke zu teilen und mitzudiskutieren.
Amadeus is a powerful, intense theatrical experience and exactly the kind of play Steppenwolf is meant to perform! It is an unforgettable and breathtaking production; you have until January 25th to see it! Joining in the conversation about this Peter Shaffer Tony and Academy Award winning classic are the leads: Ian Barford (playing Salieri) known for his […]
Ian and Hannah review the biggest new films and bingeable shows on UK streaming services over Christmas 2025, including:A determined bookstore owner in Tulsa moonlights as an investigative journalist, digging into local corruption, but when his reporting uncovers sinister connections, he must protect both his family and the truth. Ethan Hawke stars in Disney Plus series The Lowdown.Simon's perfect life is shattered when daughter Paige runs away, and is found strung out in a park. His search to a dangerous underworld where act of violence rocks his life, in Netflix's adaptation of Harlan Coben's Run Away.25-year-old Amadeus arrives in Vienna, unemployed after his father's death. He allies with singer Constanze Weber, who helps bring him into the orbit of court composer Salieri, igniting a rivalry that defines their legacies. Paul Bettany and Will Sharpe star in the NOW TV period drama Amadeus.Sophie moves to deep East Texas and succumbs to socialite Margo's charms. Her life is soon consumed by obsession, seduction, and murder in The Hunting Wives, on ITVX.Super Pumped: The Battle for Uber is the roller-coaster ride of the upstart transportation company, embodying the highs and lows of Silicon Valley, starring Joseph Gordon-Levitt and Kyle Chandler, and it's on ITVX.Amanda Holden and Alan Carr return to Spain for a one-off Christmas special. Reuniting with old friends, they celebrate an Anglo-Spanish Christmas in the aptly named Amanda & Alan's Spanish Christmas, on BBC iPlayer.Follow Bingewatch on all major podcast players for your weekly rundown of the best binge-worthy shows across Netflix, Prime Video, Disney+ and more.Remember to leave a 5 star review on Apple Podcasts, Podchaser and Goodpods AND you can now show your support and leave a tip for Ian and Hannah.You can also stay in touch with the team via Twitter AND if you like Bingewatch but you're looking for a specific review, check out BITESIZE BINGEWATCH, our sister show making it easier to get the bits you want!Discover your next favourite restaurant with NeoTaste, the exclusive membership unlocking huge discounts at hundreds of restaurants. Get 2 MONTHS FREE on us! Simply use the code BINGE at checkout. Sign up here: https://bingewatch.captivate.fm/neotaste For ad and sponsorship enquiries, email liam@mercurypodcasts.com now!
Some exciting news—The Take is now on Patreon: www.patreon.com/kermodeandmayo. Become a Vanguardista or an Ultra Vanguardista to get video episodes of Take Two every week, plus member‑only chat rooms, polls and submissions to influence the show, behind‑the‑scenes photos and videos, the monthly Redactor's Roundup newsletter, and access to a new fortnightly LIVE show—a raucous, unfiltered lunchtime special with the Good Doctors, new features, and live chat so you can heckle, vote, and have your questions read out in real time. Howdy Take listeners! We're approaching the very end of the Christmas corridor—and we've got all the movie reviews you need to get you through the final push and onto the sofa eating Quality Street and turkey leftovers. First up, The Housemaid—Paul Feig's psychological thriller starring Sydney Sweeney as a live-in maid for a family with dark secrets. Plus Marty Supreme, the high-speed Josh Safdie drama starring Timothée Chalamet as a aspiring table-tennis star in 1950s New York—and finally, Avatar: Fire and Ash. Regular listeners will know about Mark's longstanding love for (slating) the Avatar films—so buckle up for a festive rant. The wonderful Paul Bettany—star of A Knights Tale, Dogville, and more recently the Marvel Cinematic Universe as both the voice of J.A.R.V.I.S. and as Vision—is our guest this week. He's with us to discuss the new Sky adaptation of Amadeus—in which he plays Salieri, the frustratedly mediocre nemesis of Will Sharpe's Mozart. The Oscar-winning 1984 film adaptation is Simon's favourite movie of all time—but will Bettany win him over to this new TV version? They unpack it and talk music, the truth about Mozart, and whether Paul will ever direct again. Thanks for listening, and Merry Christmas ya filthy animals! Timecodes (for Vanguardistas listening ad-free) The Housemaid review – 11:17 BO10 – 20:34 Paul Bettany Interview: 28:20 Laughter Lift – 53:55 Marty Supreme review 57:55 Avatar Fire & Ash review 1:10:24 You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo Please take our survey and help shape the future of our show: https://www.kermodeandmayo.com/survey EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To advertise on this show contact: podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
SALIERI: La Pasión de Jesucristo (selec.) (Parte II) (41.03). M. Ramos (sop.), F. Gottwals (con.), F. Mock (ten.), H.-M. Brachmann (baj.), Coro Musick Köln, Das Neue Orchester. Dir.: C. Spering. BEETHOVEN: Chi mai di questo core WoO 99 (Ejercicios en declamación italiana preparados para Salieri) (1.01). C. Klopsch (sop.), W. Wagner (ten.), S. Hausmann (baj.).Escuchar audio
SALIERI: La Pasión de Jesucristo (selec.) (Parte I) (42.21). M. Ramos (sop.), F. Gottwals (con.), F. Mock (ten.), H.-M. Brachmann (baj.), Coro Musick Köln, Das Neue Orchester. Dir.: C. Spering.Escuchar audio
We're exacting righteous vengeance on love rat exes (not that Love Rat) in The Revenge Club on Paramount+ this week, and star Martin Compston joins us on the show for a chat about it as well. Elsewhere, Amadeus makes its debut on Sky Atlantic, pitting Mozart vs Salieri in a piano-off for the ages. Plus we cover Imposter (possibly THE Imposter, it's still unclear) on Channel 5. James was thrilled. (Episode 367)
SALIERI: 6 Variaciones sobre “Mio caro adone” de La fiera di Venezia KV 180 (9.19). D. Barenboim (p.). La fiera di Venezia (selec. Acto III) (18.22). F. Lombardi (sop.), K. Adam (ten.), D. Idrisova (sop.), F. Zanasi (baj.), G. Caoduro (bar.), N. Rubis (sop.), Coro y Orq. L’Arte del Mondo. Dir.: W. Ehrhardt. Palmira, Regina di Persia (selec.) (Obertura) (3.11). Orq. Sinfonia de Praga. Dir.: C. Benda. Acto 3, Escena 3 Recitativo y aria de Palmira “Voi lusingate invano… misera abbandonata” (2.56). Acto 1, Escena 6 Recitativo y aria de Palmira “Lungi da me sen vada… contro unàlma sventurata” (4.03). C. Bartoli (sop.), A. Perugi (fortep.), Orchestra of the Age of the Enlightenment. Dir.: A. Fischer.Escuchar audio
The penultimate episode of the TV Gold podcast this week features reviews and previews of: • Jay Kelly (Netflix movie)George Clooney plays Jay Kelly, a famous movie star who, along with his manager Ron (Adam Sandler), travels through Europe and is forced to confront his life choices, work and family relationships, and legacy. The film is a study of a man facing an identity crisis, grappling with the difference between his public persona and his private self. • The Abandons (Netflix, 7 episodes) The Abandons is a gritty Western series on Netflix set in 1850s Oregon, focusing on a bloody feud between two powerful matriarchs: the devout, found-family leader Fiona Nolan (Lena Headey) and the ruthless mining heiress Constance Van Ness (Gillian Anderson). • Amadeus (Binge/Foxtel, 5 episodes)The drama examines the rivalry between Wolfgang Amadeus Mozart (Will Sharpe) and court composer Antonio Salieri (Paul Bettany) when Mozart arrives in 18th-century Vienna, focusing on his volatile genius, his romance with Constanze Weber, and Salieri's growing torment and jealousy as Mozart's talent overshadows his own. Next week: Andrew and James present their Best and Worst of 2025See omnystudio.com/listener for privacy information.
[@ 3 min] Alright, this week…Gregory Spears goes Inside the Huddle! The American composer is in the middle of a banner season, which includes the 10th anniversary of his opera, Fellow Travelers. Find out about his new opera, Sleepers Awake, a reimagining of the fairy tale Sleeping Beauty, which gets its world premiere this spring... [@ 35 min] Plus, in the Two Minute Drill...a protestor apologizes for disrupting a performance at the Met, and WE apologize for clowning on Rienzi at Bayreuth… GET YOUR VOICE HEARD Stream new episodes every Saturday at 10 AM CT on amplisoundsradio.com operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social
SALIERI: La Cifra (selec.) (Aria de Lisotta “E voi da buon marito…. Aria de Eurilla “Alfin son sola… Sola e mesta) (12.08). C. Bartoli (sop.), Orchestra of the Age of Enlightenment. Dir.: A. Fischer. Falstaff, ossia le tre burle (selec.) (Principio del Acto II) (19.12). J. Gregor (baj.), M. Zempleni (sop.), D. Gulyas (ten.), I. Gatti (bar.), E. Panczel (mez.), T. Csurja (bar.), E. Vamossy (sop.), Coro de Cámra y Orq. de Cámara Salieri. Dir.: T. Pal. Die Hussiten von Naumburg (selec.) (15.48). Orq. Mozart de Mannheim. Dir.: T. Fey.Escuchar audio
SALIERI. A calamita de’cori (Sinfonia a due orchestre, Acto III) (8.38). Orq. Mozart de Mannheim. Dir.: T. Fey. Les Danaides (selec.) (Acto 1) (17.59). J. van Wanroij (sop.), P. Talbot (ten.), T. Christoyannis (bar.), K. Velletaz (sop.), T. Dolié (bar.), Les Chantres du Centre de Musique Baroque de Versailles, Les Talens Lyriques. Dir.: C. Rousset. Cassazione en Do Mayor (15.57). Ensemble Italiano di Fiati.Escuchar audio
SALIERI: Per la ricuperata salute di Ofelia K 477 A (6.01). D. Williams (sop.), Orq. Sinfonia de Praga. Dir.: C. Benda. Armida (selec.) (Principio del Acto II) (18.22). L. Ruiten (sop.), F. Valiquette (sop.), T. Iervolino (mez.), A. Riches (bar.), Coro de Cámara de Namur, Les Talens Lyriques. Dir.: C. Rousset. Trío para dos oboes y fagot en Mi bemol Mayor (7.59). Trío para dos oboes y fagot en Do Mayor (4.59). P. Pollastri (ob.), C. Tenan (ob.), D. Muleri (fg.).Escuchar audio
Bob and Brad return to one of cinema's grandest portrayals of genius and jealousy with a revisit of the 1984 theatrical cut of Amadeus, winner of 8 Academy Awards including Best Picture and Best Actor. From Tom Hulce's electrifying portrayal of Mozart to F. Murray Abraham's haunting, Oscar-winning turn as Salieri, the film's mix of theatricality and psychological depth makes for one of the most fascinating character studies in film history. Then, the hosts sip and review Redbreast 12 Year Irish Whiskey, a staple of the single pot still category.(0:00) Intro(8:01) Brad Explains(11:59) Performances, Themes(37:03) Redbreast 12 Year Irish Whiskey review(47:44) Two Facts and a Falsehood(52:30) Final Analysis(1:00:23) Let's Make it a Double and Final ScoresSave on your bottle of Blackwood (use code FILMWHISKEY)Film & Whiskey InstagramFilm & Whiskey FacebookFilm & Whiskey TwitterEmail us!Join our Discord server!For more episodes and engaging content, visit Film & Whiskey's website at www.filmwhiskey.com.Timestamps
SALIERI: Les Horaces (Ópera en tres actos) (selec. del Acto III) (17.53). J. van Wanroij (sop.), C. Dubois (ten.), J. Dran (ten.), J.-S. Bou (bar.), P.-N. Martin (bar.), A. Foster-William (baj.-bar.), E. Lefevbre (sop.), Les chantres du Centre de Musique Baroque de Versailles, Les Talens Lyriques. Dir.: C. Rousset. Axur, re d’Ormus (Ópera en cuatro actos, versión en cinco actos) (Acto 5) (17.12). A. Martin (baj.), C. Rayam (ten.), E. Mei (sop.), E. Nova (baj.), A. Vespasiani (mez.), M. Valentini, Coro Guido d’Arezzo, Orq. Fil. de Rusia. Dir.: R. Clemencic.Escuchar audio
SALIERI: Sinfonía en Re Mayor “Il giorno onomastico” (19.54). Orq. Sinf. de Londres. Dir.: Z. Pesko. BEETHOVEN/SALIERI: 10 Variaciones para piano en Si bemol Mayor sobre “La stessa, La stessissima” de la ópera de Salieri “Falstaff” Woo 73 (9.52). P. Mangova (p.). SALIERI: Quinteto para dos oboes, dos cornos y continuo en Si bemol Mayor (14.02). P. Pollastri (ob.), C. Tenan (ob.), F. Fava (corno), M. Campagnini (corno), Ensemble Italiano Di Fiati.Escuchar audio
SALIERI: Recitativo y aria de Emilia “Eccomi ppiu che nai… Amor, pietoso amore” (Escena 14, Acto II, de Il Ricco d’un giorno) (5.43). Recitativo y aria de Rinaldo “E non degg’io seguirla… Lungi da te… Forse, chi sa veranno… vieni me sull’alli d’oro” (Escena 2, Acto II de Armida) (9.54). C. Bartoli (Sop.). Ochestra of the Age of the Enlightenment. Dir.: A. Fischer. Concierto para piano y orquesta en Si bemol Mayor (24.34). A. Staier (fortep.), Concerto Köln. BEETHOVEN: Ejercicios en declamación italiana para Salieri (selec.) (Ma tu tremi, Fra tutte le pene). (2.46). C. Klopsch (sop.), A. Pilzecker (con.), J. Vogt (ten.).Escuchar audio
SALIERI: Misa de Requiem en Do menor (37.12). A. Zukerman (sop.), S. Ivag (mez.), A. Zdunikowski (ten.), L. Rodrigues (bar.), Coro y Orq. de la Fundación Gulbenkian de Lisboa. Dir.: L. Foster. 4 Scherzi instrumentali in stilo fugato (selec.) (nº 1, 3 y 4) (6.23). P. Thomas (vl.), J. rees (vl.), T. Tichauer (vla.), N. Cooper (vc.).Escuchar audio
#237 Predator: Badlands, Bugonia, Amadeus A runt-of-the-litter warrior must prove himself worthy on a hostile planet partnered with a creature and a loquacious android. Two men kidnap a CEO, convinced she's an alien being out to destabilize and destroy humanity, in the hopes to set a meeting on a lunar eclipse. The respected court composer Salieri fights himself and God when acclaimed figure Mozart enters his world, upending his beliefs and talent which leads to malice and scheming. Next Time: Wicked For Good, Hamnet, If Beale Street Could Talk Recent Discoveries Ralf: Now You See Me: Now You Don't, The Marksman Luke: Romper Stomper, Kiss of the Spider Woman, Die My Love, Now You See Me: Now You Don't, The Running Man Oscar: The Last Unicorn, Kiss of the Spider Woman, The Lost Bus, Hell House LLC: Lineage, The Running Man, Nuremberg Otherpodcast.com Show Notes 00:00:00 INTRO 00:02:40 Recent Discoveries 00:56:08 Predator: Badlands 01:29:42 spoilers 01:53:11 Bugonia 02:03:46 spoilers 02:34:52 Amadeus 03:41:50 EXIT
SALIERI: Pafio e Mirra ossia I Prigionieri di Cipro (Música de ballet basada en la ópera L’Europa Riconosciuta) (23.56). Orq. Mozart de Mannheim. Dir.: T. Fey. Variaciones sobre “La Follia di Spagna” (20.56). Orq. Sinf- de Londres. Dir.: Z. Peiko.Escuchar audio
Front Row Classics is taking a look at the Best Picture winner of 1984. Brandon is joined by Dominic Cellini to discuss Milos Forman's Amadeus. We chat about the legendary performances of Tom Hulce and F. Murray Abraham (in an Oscar-winning performance) as Mozart and Salieri. Brandon and Dominic also discuss the film's incredible fusion of genres which allows it be a cut above the typical biopic,
Amadeus Front Row Classics is taking a look at the Best Picture winner of 1984. Brandon is joined by Dominic Cellini to discuss Milos Forman’s Amadeus. We chat about the legendary performances of Tom Hulce and F. Murray Abraham (in an Oscar-winning performance) as Mozart and Salieri. Brandon and Dominic also discuss the film’s incredible … Continue reading Ep. 381- Amadeus →
Few actors can claim a career as rich and varied as F. Murray Abraham. From his classical theater roots to his unforgettable Oscar-winning turn as Salieri in Amadeus, from Tony-nominated Broadway performances to his recent scene-stealing work in The White Lotus, Homeland, and Star Trek: Discovery—Abraham has mastered the art of reinvention without ever compromising his craft. In this intimate conversation, the 85-year-old legend opens up about the highs and lows of a six-decade journey through American entertainment. He reveals why winning an Academy Award didn’t guarantee stardom, how he’s chosen challenging roles over commercial success, and what it means to still be delivering career-best performances in his ninth decade—including his current starring role in the new Broadway production of The Queen of Versailles. Abraham discusses what drew him back to live theater at this stage of his career and the unique electricity of performing before an audience eight times a week. He shares insights from working with the Coen Brothers on Inside Llewyn Davis, reflects on his rigorous classical training, and explains the discipline required to sustain a working actor’s life across film, television, and stage. He offers behind-the-scenes stories from iconic productions spanning Amadeus to The Grand Budapest Hotel, discusses the art of playing complex villains and antiheroes, and provides hard-won wisdom about longevity, artistry, and staying relevant across generations. Whether you’re an aspiring actor, a film buff, or simply a fan of great storytelling, this episode offers a masterclass in dedication, versatility, and the power of choosing substance over flash. F. Murray Abraham proves that the best careers aren’t built overnight—they’re crafted one brilliant performance at a time. Listen now to hear from one of the most respected character actors of our time.Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.
Few actors can claim a career as rich and varied as F. Murray Abraham. From his classical theater roots to his unforgettable Oscar-winning turn as Salieri in Amadeus, from Tony-nominated Broadway performances to his recent scene-stealing work in The White Lotus, Homeland, and Star Trek: Discovery—Abraham has mastered the art of reinvention without ever compromising his craft. In this intimate conversation, the 85-year-old legend opens up about the highs and lows of a six-decade journey through American entertainment. He reveals why winning an Academy Award didn’t guarantee stardom, how he’s chosen challenging roles over commercial success, and what it means to still be delivering career-best performances in his ninth decade—including his current starring role in the new Broadway production of The Queen of Versailles. Abraham discusses what drew him back to live theater at this stage of his career and the unique electricity of performing before an audience eight times a week. He shares insights from working with the Coen Brothers on Inside Llewyn Davis, reflects on his rigorous classical training, and explains the discipline required to sustain a working actor’s life across film, television, and stage. He offers behind-the-scenes stories from iconic productions spanning Amadeus to The Grand Budapest Hotel, discusses the art of playing complex villains and antiheroes, and provides hard-won wisdom about longevity, artistry, and staying relevant across generations. Whether you’re an aspiring actor, a film buff, or simply a fan of great storytelling, this episode offers a masterclass in dedication, versatility, and the power of choosing substance over flash. F. Murray Abraham proves that the best careers aren’t built overnight—they’re crafted one brilliant performance at a time. Listen now to hear from one of the most respected character actors of our time.Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.
SALIERI: Concierto para piano y orquesta en Do Mayor (22.16). A. Staier (fortep.), Concerto Köln. Picciola serenata en Si bemol Mayor (14.12). Sección de vuento de Il Gruppo di Roma. Cavatina “Pensieri funesti” (3.52). A.-S. Müller (mez.), U. Eisenlohr (p.).Escuchar audio
SALIERI: Concierto para violín, oboe, violoncello y orquesta en Re Mayor “Triple concierto” (25.27). T. Fueri (vl.), H. Holliger (ob.), T. Demenga (vc.), Camerata Bern. Dir.: T. Fueri. Il mondo alla rovescia (Obertura) (5.03). Orq. Mozart de Mannheim. Dir.: T. Fey. Il genio degli stati: Soneto (2.56). Deh, si piacevole. Ode (5.56). I, Eerens (sop.), U. Eisenlohr (p.).Escuchar audio
Milos Forman ya se inventó que Salieri mató a Mozart, así que preparáos para un remake de la misma mentira.-CINE: Send help, Remain, Karmadonna-SECUELAS: Predator: Bad Lands, Amadeus-SERIES: A knight of the seven kingdoms, Down Cemetery Road, Stranger Things, Invencible, Wonder WomanY os recuerdo que este viernes tenéis una nueva entrega de EXCELSIOR, mi podcast de literatura y cómics, cortesía de LETRAS AL MARGEN (podéis seguirnos en Instagram, TikTok y YouTube). Esta semana os hablo de: ARTHUR C. CLARKE.Podéis contactar conmigo en X (@antoniorentero)
Přátelství italského skladatele Antonia Salieriho a hraběte Jindřicha Viléma Haugwitze ze zámku v Náměšti nad Oslavou dokládá a dokumentuje výstava nazvaná Maestro Salieri.
Episode: 2488 Revision: An Essential Component of the Creative Process. Today, creator vs. revisor.
Zwei verfeindete Zwillingsbrüder im alten Ägypten und Griechenland, eine Massenhochzeit, ein Massenmord und ein Schlussbild mit Furienchor und Feuerregen - Salieri lieferte dem Pariser Publikum bei der Uraufführung 1784 eine Dramatik und ein Spektakel, das man dort noch nicht gesehen hatte. Antonio Salieri landete mit seinen Danaiden einen Riesenerfolg, der noch Jahrzehnte nachwirkte. Über diesen Fünfakter schwärmten später auch Hector Berlioz sowie Richard Wagner, und Ludwig van Beethoven, nur einer der vielen berühmten Schüler des Hofkomponisten von Joseph II., kopierte Stellen des Werks im Unterricht, um davon zu lernen. Wohl wegen des aufkommenden Nationalismus am Anfang des 19. Jahrhunderts fielen Antonio Salieri und sein grosses, teils geradezu avantgardistisches Œuvre mit fast 40 Opern zwischen Stuhl und Bank: Für die Italiener war der bereits als Teenager ausgewanderte Salieri ein Wiener, für die Wiener blieb er Italiener, und für die Franzosen war er ein Deutscher. Er wurde somit in keinem der Länder, in welchen er so erfolgreich wirkte, zur nationalen Identifikationsfigur oder zum Nationalkomponisten erkoren. Zum Doppeljubiläum von Salieri, seinem 275. Geburtstag am 18. August und seinem 200. Todestag am 7. Mai 2025, besprechen wir in der Diskothek erstmals ein Werk dieses damals so beliebten und häufig gespielten Komponisten. Gäste von Moritz Weber sind der Salieri-Biograf Timo Jouko Herrmann und der Bassbariton Robert Koller.
Winner of eight Academy Awards including Best Picture, Miloš Forman's masterpiece tells the story of Mozart through the envious eyes of his rival Salieri. But how did a Czech director come to make a classic Viennese tale? And what's the real story behind "too many notes"?Join John, Westy, and Matt as they dive deep into the making of a theatrical triumph turned cinematic classic. From Peter Shaffer adapting his own stage play to Tom Hulce's rock-and-roll approach to playing Mozart (yes, really), we explore how Forman transformed a Broadway hit into one of cinema's great achievements.We uncover the fascinating production history, including the painstaking recreation of 18th-century Vienna, the decision to film in Prague during the Cold War, and which Hollywood legends (plus a Rolling Stone) were originally considered for the lead roles. Plus, discover how F. Murray Abraham's performance as Salieri became the perfect embodiment of jealousy and genius, and why this film makes you simultaneously want to compose a symphony and maybe poison your neighbour (we don't recommend the latter).This is the story of how one of history's greatest composers became the subject of one of cinema's greatest films—told the way only All The Right Movies can tell it.Telling the story of Hollywood, one movie at a time.Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron:Listen on Patreon Listen on Apple PodcastsListen on SpotifyTwitter/X: @ATRightMoviesYouTube: Subscribe to our channelInstagram: @allthe_rightmovies Threads: @allthe_rightmoviesFacebook: Join our movie groupBluesky: @alltherightmovies.comTikTok: @alltherightmoviesWebsite: alltherightmovies.com
En faisant de lui un intriguant sans scrupule et l'empoisonneur de Mozart, la postérité s'est complu à noircir l'image d'Antonio Salieri. Ce viennois d'adoption, en son temps compositeur apprécié et pédagogue recherché, méritait bien une réhabilitation.Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Hoy escuchamos: Es momento de luchar, Vida, Viejos dinosaurios, Todo se me muere, Tocar el cielo, Silencio.Lujuria: Mozart y Salieri, Migas de paz, El amor está en el aire, Joda a quien joda, Corazón de heavy metal.Escuchar audio
O episódio #603 do Cinem(ação) nos leva direto ao coração da música, da inveja e da genialidade. Rafael Arinelli recebe Pedro Amaro e Diego Quaglia para discutir Amadeus, o clássico de Milos Forman que, mais de 40 anos depois de seu lançamento, continua a nos impressionar.Vencedor de 8 Oscars, Amadeus é muito mais do que uma cinebiografia sobre Mozart. Baseado na peça de Peter Shaffer, o filme mergulha em uma Viena do século XVIII povoada por intrigas, ressentimentos e partituras perfeitas. No centro da narrativa, temos o conflito entre o respeitado Antônio Salieri (vivido por F. Murray Abraham, em performance premiada) e o irreverente Wolfgang Amadeus Mozart (Tom Hulce), numa rivalidade tão fictícia quanto profundamente simbólica.Mas o que faz esse filme atravessar gerações? O episódio explora como Forman subverte as convenções da cinebiografia para colocar no centro da trama temas universais: o peso da mediocridade, a solidão dos gênios e a arte como expressão divina. Tudo isso com uma direção sutil, figurinos luxuosos, uma fotografia barroca e, claro, trilha sonora de tirar o fôlego.Ao longo do papo, refletimos também sobre as liberdades criativas do filme, a construção humanizada dos personagens e como a ficção é usada como espelho da verdade - mesmo que não seja factual. Afinal, é possível odiar alguém por ser tão brilhante quanto você nunca será?Então dá o play e vem com a gente nesse papo profundo e apaixonado por uma das maiores obras do cinema. Porque entender Amadeus é, de certa forma, entender o próprio ato de criar.• 03m21: Pauta Principal• 1h07m27: Plano Detalhe• 1h19m06: EncerramentoOuça nosso Podcast também no:• Spotify: https://cinemacao.short.gy/spotify• Apple Podcast: https://cinemacao.short.gy/apple• Android: https://cinemacao.short.gy/android• Deezer: https://cinemacao.short.gy/deezer• Amazon Music: https://cinemacao.short.gy/amazonAgradecimentos aos padrinhos: • Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Alves Lima• Eloi Xavier• Flavia Sanches• Gabriela Pastori Marino• Guilherme S. Arinelli• Katia Barga• Thiago Custodio Coquelet• William SaitoFale Conosco:• Email: contato@cinemacao.com• Facebook: https://bit.ly/facebookcinemacao• BlueSky: https://bit.ly/bskycinemacao• Instagram: https://bit.ly/instagramcinemacao• Tiktok: https://bit.ly/tiktokcinemacaoApoie o Cinem(ação)!Apoie o Cinem(ação) e faça parte de um seleto clube de ouvintes privilegiados, desfrutando de inúmeros benefícios! Com uma assinatura a partir de apenas R$5,00, você terá acesso a vantagens incríveis. E o melhor de tudo: após 1 ano de contribuição, recebe um presente exclusivo como agradecimento! Não perca mais tempo, acesse agora a página de Contribuição, escolha o plano que mais se adequa ao seu estilo e torne-se um apoiador especial do nosso canal! Junte-se a nós para uma experiência cinematográfica única!Plano Detalhe:• (Diego): Filme: Prédio Vazio• (Diego): Filme: As Pontes de Madison• (Diego): Série: O Ensaio• (Pedro): Filme: "Amadeus" winning Best Picture• (Pedro): Série: O Estúdio• (Rafa): Newsletter: Rafael SbaraiEdição: ISSOaí
durée : 01:28:08 - En pistes ! du vendredi 13 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - A l'occasion du 50e anniversaire de la mort du compositeur russe, un disque nous propose de découvrir des raretés encore jamais enregistrées. Mais aussi, une symphonie de Franz Lachner, le voyage musical parisien de Fernando Sor et une réédition consacrée à Salieri pour le bicentenaire de sa mort.
durée : 01:28:08 - En pistes ! du vendredi 13 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - A l'occasion du 50e anniversaire de la mort du compositeur russe, un disque nous propose de découvrir des raretés encore jamais enregistrées. Mais aussi, une symphonie de Franz Lachner, le voyage musical parisien de Fernando Sor et une réédition consacrée à Salieri pour le bicentenaire de sa mort.
durée : 00:15:10 - Le Disque classique du jour du mardi 06 mai 2025 - Dans Cublai, gran kan de' Tartari (1788), Salieri mêle héroïsme comique et satire piquante des monarchies européennes. Censurée avant sa création, l'œuvre est enfin ressuscitée dans cet enregistrement par Les Talens Lyriques et Christophe Rousset.
durée : 01:27:40 - En pistes ! du mardi 06 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Avant même sa création, Cublai de Salieri a été censuré. Christophe Rousset nous fait découvrir cette partition piquante avec son ensemble Les Talens Lyriques. Autre opéra, "Adriana Mater" de la compositrice finlandaise Kaija Saariaho, créé en 2006 et gravé pour la première fois au disque.
durée : 00:15:10 - Le Disque classique du jour du mardi 06 mai 2025 - Dans Cublai, gran kan de' Tartari (1788), Salieri mêle héroïsme comique et satire piquante des monarchies européennes. Censurée avant sa création, l'œuvre est enfin ressuscitée dans cet enregistrement par Les Talens Lyriques et Christophe Rousset.
durée : 01:27:40 - En pistes ! du mardi 06 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Avant même sa création, Cublai de Salieri a été censuré. Christophe Rousset nous fait découvrir cette partition piquante avec son ensemble Les Talens Lyriques. Autre opéra, "Adriana Mater" de la compositrice finlandaise Kaija Saariaho, créé en 2006 et gravé pour la première fois au disque.
Salieris Werk war zu seinen Lebzeiten äußerst populär, seine Opern wurden in ganz Europa aufgeführt. Seine angebliche Rivalität mit Wolfgang A. Mozart ist eine Erfindung. Neben seiner Arbeit als Komponist und Direktor der Hofkapelle war Salieri auch als Lehrer und Musikpädagoge bedeutend. Das Institut für Gesang und Stimmforschung in der Musikpädagogik an der Universität für Musik und darstellende Kunst Wien (mdw) ist nach ihrem Mitbegründer Salieri benannt. Salieri war auch maßgeblich an der Gründung der Gesellschaft der Musikfreunde in Wien 1812 beteiligt - deren Konzerthaus, der "Musikverein", ist in der Welt der Klassik weltberühmt.
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Antonio Salieri wurde vom Musikdirektor des Wiener Hofes, Florian Gassmann, als Jugendlicher in Venedig entdeckt und mit nach Wien genommen - wo er bis zu seinem Tod 1825 lebte. Nach dem Tod seines Mentors wurde Salieri dessen Nachfolger und hatte somit eine der einflussreichsten Positionen in der Wiener Musikwelt dieser Zeit inne. Die Spuren seines Lebens sind an vielen Orten der Inneren Stadt zu finden.
Lynda's concerned for Khalil after the loss of Constanza yesterday. Khalil assures her he's okay. They take Salieri for a walk, the start of a regular thing and Khalil loves it. He admits he sometimes feels stupid and his mother has low expectations of him. Lynda assures him this isn't true. He tells Lynda about a boy whose funeral he attended. Seeing the boy's mum's face put him in mind of his own mum and how she might feel if he died. He knows his cancer could return. He apologises for the dark conversation and Lynda comforts him. She knows his mum's just thrilled he's alive and thriving, and has complete faith in him. Joy checks in with Mick, making sure he's still happy for Rochelle to stay with them. Mick confirms it's all good; he's pleased for Joy that Rochelle's around. Joy declares him a good man. Mick raises the delicate topic of what's really going on between the two women. He needs Joy to be straight with him. Joy gradually opens up, disclosing the extent of her ex husband's betrayal as he conducted a string of affairs. She thinks Rochelle might blame her for her father leaving. Joy worries she leaned on Rochelle a bit too much at that time. She confesses she left for a few days, acknowledging Rochelle was probably too young for this. It was a dark time in their lives; they've never really got over it. Mick understands, relieved Joy's been honest with him. He promises things will be better from now on.
In this episode, Anna and Derek debate what people may know of Salieri's actual legacy, whether this Oscar winner needed to be trimmed up a bit, and much more during their discussion of Milos Forman's Amadeus (1984).Connect with '80s Movie Montage on Facebook, Bluesky or Instagram! It's the same handle for all three... @80smontagepod.Anna Keizer and Derek Dehanke are the co-hosts of ‘80s Movie Montage. The idea for the podcast came when they realized just how much they talk – a lot – when watching films from their favorite cinematic era. Their wedding theme was “a light nod to the ‘80s,” so there's that, too. Both hail from the Midwest but have called Los Angeles home for several years now. Anna is a writer who received her B.A. in Film/Video from Columbia College Chicago and M.A. in Film Studies from Chapman University. Her dark comedy short She Had It Coming was an Official Selection of 25 film festivals with several awards won for it among them. Derek is an attorney who also likes movies. It is a point of pride that most of their podcast episodes are longer than the movies they cover.We'd love to hear from you! Send us a text message.
The Oscars may be over, but we're keeping the party going with a live roundtable review of Amadeus--which racked up a symphony of statues 40 years ago!In Milos Forman's adaptation of Peter Shaffer's play, F. Murray Abraham plays Italian composer Antonio Salieri, whose dreams of musical immortality are shattered when he encounters child prodigy Wolfgang Amadeus Mozart (Tom Hulce). The film opens with Salieri in an asylum, confessing to a priest that he'd killed Mozart years earlier--and much of Amadeus takes us behind the scenes of their tumultuous relationship.This was a first-time watch for Ian and, as you'll soon see, Amadeus is another one of those "They Should've Just Stopped Making Movies After This Movie" movies. But what do the rest of the EMC think? Join us as we compose ourselves while talking spoilers and taking your questions, comments, and SuperChats!Subscribe, like, and comment on Kicking the Seat here on YouTube, and check us out at:kickseat.comXLetterboxdBlueSkyInstagramFacebookShow LinksWatch the Amadeus trailer.Warner Bros recently released a 4K UHD of the Amadeus theatrical cut, available wherever you pick up movies.Watch F. Murray Abraham's moving (and brief!) "Best Actor" acceptance speech at the 1985 Oscars (mentioned in the show).Support all of Earth's Mightiest Critics at their various outlets:Check out Mark "The Movie Man" Krawczyk's The Spoiler Room Podcast.Keep up with Jeff York's criticism and caricatures at The Establishing Shot and Pipeline Artists.Get seated with The Blonde in Front!Follow David Fowlie's film criticism at Keeping It Reel.Get educated with Don Shanahan at Every Movie Has a Lesson…...And Film Obsessive...and the Cinephile Hissy Fit Podcast.Keep up with Annie Banks at The Mary Sue....and We Got This Covered.Make Nice with Mike Crowley of You'll Probably Agree.And stir things up with Will Johnson of the Cinephile Hissy Fit Podcast.
for the full episode join the Patreon [patreon.com/fashiongrunge]To say that I'm beyond thrilled to talk about Amadeus would be an understatement. Like I have mentioned before, I can't believe it has taken this long to review this literal perfect film. The obsessive nature between the two men we compare to more contemporary film dynamics (*cough Saltburn). We are talking the Director's Cut of this film since the extra 20 minutes are just a gift to us as cinefiles. I honestly don't think there is anything bad to say about this film and we talk about how a 'Best Picture' winner hasn't really come close since. Me and Charles had such a great time finding out all the behind the scenes, the history of the real men, and get into how we love to watch films about rivalries. Off-topic rants include: Zoobilee Zoo, who was Kurt Cobain's 'Salieri'?, the Family Guy spoof, and The Cure movie from 1995 ---GIVE US A 5 STAR RATING & SUBSCRIBE to the main Fashion Grunge Podcast feed on (mostly) 90s films!Hosts: Lauren @lauren_melanie & Charles @charleshaslamFollow Fashion Grunge PodcastFind more Fashion Grunge on LinktreeJoin me on Substack: The Lo Down: a Fashion Grunge blog/newsletter☕️ Support Fashion Grunge on Buy Me a Coffee: https://www.buymeacoffee.com/fashiongrunge
Jolene and Kenton have difficulty photographing their kitten for the kitten naming competition – she keeps disappearing off! Later they spot a boy stroking her in the pub car park, claiming that the kitten was on the road and that he'd practically saved her life. He tells them his name's Kahlil and he's just moved into Beechwood.Later, Kenton's not satisfied with his kitten photos, but Jolene likes the one in the old Shires ashtray and they decide to go with it for the competition photo. Jolene invites Fallon and Harrison over for a drink later – George is in court this week and Fallon's feeling confused about reading out her personal statement in court. Jolene's going there with her for support.Lilian asks Lynda's advice about whether she should encourage Alice to come to court for George's sentencing on Thursday. They stop in mid-flow when they spot a boy appearing to be feeding Lynda's llamas crisps. He's adamant he isn't though, explaining how llama's digestive systems work. He thinks Salieri's constipated. That's too much for Lynda who demands to know the boy's name to report him to his parents. But he runs off before she can finish. Later a girl turns up looking for him. When Lynda suggests he's dropped his drinks can as litter, the girl says it's not his. They're boycotting that drink. The boy reappears and she heads home with him. Slowly Lynda realises who they might've been. Azra lives in Beechwood – what if they're her children? Lynda worries that she might've offended Adil's family practically as soon as they've moved in
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