When I first saw the painted set of the ball room, with its incredible perspective, framed by a classic theatre's stripped proscenium arch, I marvelled in the possibility of intertwining elements of 18th century Italian opera, in which the play's story revolves around, with more modern elements.
Nevertheless, this idea is never fully explored. Even if the point was to show the difference between the royal court and its composer's restrictive view of things and the outlandish personality of the titular character, being this initial set as a figure of the first, there could have been a greater use of such a strong device.
This is not to say that there aren't some interesting ideas in the staging, following this initial idea. Like the literal deconstruction of classic elements, with the pillars used loose from their context, in a reinterpretation of the classic in conjunction with the modern.
Where even people and the orchestra are themselves part of the scenery, static and yet minimally changeable, like living wax figures, there to express the world that Salieri intends immutable, according to his divine plans, but which is gradually transformed with the presence of Wolfgang's music.
But the worst felony comes in the play's filming, in this case inherently relevant to its enjoyment as such. There are clear interesting moments, such as when Salieri reads Wolfgang's music pieces and the director intelligently frames the performance of those behind the first composer, as the tormenting of the rival's genius upon him.
But otherwise, it is almost as the director himself didn't know how to approach the filming of the play, although so many elements seem obvious as apparent framing devices.
With such a strong element in that initial set, what could have been used to create striking filmed perspectives, enhanced by a particular camera position, instead gives way to cut frames without a clear intent.
And, for example, when in the middle of a scene, Salieri is focused with a spotlight, while exposing his inner thoughts to the audience, the camera is unable to emphasise this in the remaining scene, instead choosing the simplest and most uninspired way, through close-ups on the actor.
Fortunately, this is overall more prominent in the first act, and generally saved by the lead performance that captivates you from start to finish. And so, these missteps never entirely take you from the experience.
