Mozart’s Der Schauspieldirektor premiered February 7 th 1789 in Vienna at the court of Emperor Joseph
II. The work was written as a comic commentary on the organizational process of putting on an opera.
The original German dialogue has largely been lost to modern performers. It features topical references
to plays of the day and a multitude of characters, many of which were spoken roles. This version has
been modernized and translated to make it more accessible to a modern audience.
The large number of roles has been condensed into five performers. These roles display stock images of
personalities related to opera production. The Impresario himself, Herr (Frau) Skrupel, has been made
sarcastic and bitter by years of performance intrigues. His/her assistant, Buff, is named after the
operatic voice type ‘buffo baritone’ or comic baritone which is clearly displayed by his personality.
Madame Herz, translated ‘Miss Heart’, was written for Mozart’s former love interest and sister-in-law
Aloysia Weber. Mozart frequently composed roles for her such as Constanza in Die Entführung aus dem
Serail (Abduction from the Seraglio). The virtuosity displayed by Madame Herz is typical of Mozart’s
compositions for her.
Both Silberklang (silver sound) and Herz parody stereotypical egotism associated with operatic
performers. The argument scene displays virtuosity by both singers and constant repetition of the
phrase “Ich bin die erste sangerin” (I am the first singer). Much of the text features comical references
to musical terms. Madame Herz sings a long section on the text ‘adagio’, a slow musical tempo marking.
Following this Silberklang sings quickly on the text Allegro, Allegrissimo which are also tempo markings
for fast and fastest. At the conclusion Eiler sings simply piano or calando in an attempt to disrupt the
argument. These Italian dynamic terms translate to soft and dying away.
The role of Herr Eiler has been condensed form two roles, that of the banker and an auditioning tenor.
His character shows the role of finance within the music world of today as well as during Mozart’s day.
Many of Mozart’s works were composed for wealthy patrons or nobility who financed the production.
Eiler is intended to parody this by showing how if one is not careful financial constraints can dominate
the arts. The final message of the work loosely translates as ‘ego can make a great artist small’, a
message which largely still resonates today.
II. The work was written as a comic commentary on the organizational process of putting on an opera.
The original German dialogue has largely been lost to modern performers. It features topical references
to plays of the day and a multitude of characters, many of which were spoken roles. This version has
been modernized and translated to make it more accessible to a modern audience.
The large number of roles has been condensed into five performers. These roles display stock images of
personalities related to opera production. The Impresario himself, Herr (Frau) Skrupel, has been made
sarcastic and bitter by years of performance intrigues. His/her assistant, Buff, is named after the
operatic voice type ‘buffo baritone’ or comic baritone which is clearly displayed by his personality.
Madame Herz, translated ‘Miss Heart’, was written for Mozart’s former love interest and sister-in-law
Aloysia Weber. Mozart frequently composed roles for her such as Constanza in Die Entführung aus dem
Serail (Abduction from the Seraglio). The virtuosity displayed by Madame Herz is typical of Mozart’s
compositions for her.
Both Silberklang (silver sound) and Herz parody stereotypical egotism associated with operatic
performers. The argument scene displays virtuosity by both singers and constant repetition of the
phrase “Ich bin die erste sangerin” (I am the first singer). Much of the text features comical references
to musical terms. Madame Herz sings a long section on the text ‘adagio’, a slow musical tempo marking.
Following this Silberklang sings quickly on the text Allegro, Allegrissimo which are also tempo markings
for fast and fastest. At the conclusion Eiler sings simply piano or calando in an attempt to disrupt the
argument. These Italian dynamic terms translate to soft and dying away.
The role of Herr Eiler has been condensed form two roles, that of the banker and an auditioning tenor.
His character shows the role of finance within the music world of today as well as during Mozart’s day.
Many of Mozart’s works were composed for wealthy patrons or nobility who financed the production.
Eiler is intended to parody this by showing how if one is not careful financial constraints can dominate
the arts. The final message of the work loosely translates as ‘ego can make a great artist small’, a
message which largely still resonates today.
