An irreverent take on Mozart's relations with the three Weber sisters: Louisa, whom he loved, but who didn't love him; Constanza, whom he loved and married; and Sophie, who loved him but whom he didn't love. An anthology of arias from Mozart's operas, in which art comments on life through a cheeky use of back-projection and miming to records.
Beginning in 1763, the film follows the Mozart family's exhausting life on the road, traveling by coach from one royal court to the next, where the nobility marvel at young Wolfgang's prodigious talent. But accomplished singer, harpsichordist, violinist Nannerl, Wolfgang's elder by five years, first held forth as the family's infant prodigy. At the film begins, she is still performing, though overshadowed and sidelined as accompanist by Wolfgang's growing fame. Her father bows to social strictures "for her own good," refusing to let her continue with the violin or compose, while privately conceding Nannerl's talent to his wife.
The wrong note at a recital given by Professor Baraldi's most gifted music majors sets the stage for serial murder…
Under the direction of the principal conductor and artistic director of the Salzburg Mozart Week, Mark Minkowski, the Musiciens du Louvre perform on two of Mozart’s original instruments. Mozart’s Violin Concerto and his Piano Concerto in A major are played on instruments that were once in the composer’s possession. Thibault Noally plays the Violin Concerto on a violin from the workshop of Pietro Antonio Dalla Costa and “conjures up Romantic brilliance from the well maintained instrument”, then Francesco Corti brings Mozart’s fortepiano to life again, thereby spreading “collective Mozart happiness all round” (Salzburger Nachrichten).