Finally the Court Composer discovers a real weakness in his victim’s character, through which he can destroy him not only economically but also physically and mentally. Mozart’s father Leopold visits Vienna to stay with his son and daughter-in-law, of whom he violently disapproves. The visit—despite attempts to cheer it up with parties and masquerades—is a disastrous failure, and the old man leaves for Salzburg in bitterness. Shortly thereafter he dies. Mozart is badly stricken. Salieri perceives, at a performance of the opera “Don Giovanni” that in the dreadful figure of the accusing statue, Mozart has summoned up his father to accuse him, publicly, on stage. Guilt is deeply ingrained in the son’s soul, ready to be used against him by an enemy. Surprisingly, however, Salieri’s aim is not his immediate destruction.
As the life of Mozart grows more and more desperate, he lapses into sickness and drunkenness and turns from the Court which has turned from him to produce entertainment for ordinary German people in the popular theatre of Emanuel Schikaneder, Salieri, his tormented persecutor, suddenly decides that he wants Mozart alive—at least for the moment. His lust for immortality propels Salieri toward a new and pathetic wickedness. Committed to his war with his Maker, he finally hits on the one stratagem that, in his eyes, could enable him to win he battle for eternal recognition. The old man’s confession climaxes with this stratagem and the inevitable outcome of any such absurd challenge to divinity. God replies to Salieri...in his own way.