Experiencing the duality of brilliance and adversity comes alive in the new series “Mozart Mozart,” which unravels the narrative of the acclaimed Austrian composer and his overshadowed sister, Maria Anna, who history often overlooks.
“It’s astonishing how little recognition she receives,” remarks screenwriter Swantje Oppermann. Showrunner Andreas Gutzeit elaborates, “From the first scene, it becomes evident who the original prodigy was. She captivated audiences just as much, only to fade into obscurity as societal roles changed when she matured. This narrative resonates with us profoundly.”
Produced by Gutzeit’s Story House Pictures alongside major German broadcaster ARD (WDR/SWR/ARD Degeto Film), in collaboration with Austrian state TV ORF and Dreaming Sheep Company, with global sales managed by Beta Film and Bavaria Media, the series illuminates Maria Anna’s story, akin to many other female artists who have been disregarded across centuries.
“It’s fascinating to hear that this is perceived as a contemporary venture—revisiting female artists who faded into the background. This is one of the motivations behind this project,” remarks director Clara von Arnim (“The Zweiflers”), responding to a query from Variety.
“Focusing on Maria Anna infuses the narrative with a sense of timelessness. As a woman in the arts and film industries, you must ensure you aren’t underestimated,” she adds.
The series features talents such as Havana Joy (“Love Sucks”), Eren M.Güvercin (“Skam Germany: Druck”), Eidin Jalali (“The Swarm”), Verena Altenberger (“Wild Republic”), and Sonja Weißer (“Maxton Hall”).
Gutzeit previously explored another iconic figure with the successful series “Sisi: Austrian Empress,” running for four seasons.
“Even with extensive discourse around Sisi, audiences continued to embrace the show. I discovered that having a recognized brand significantly impacts market dynamics. Mozart has been a celebrated brand for over 250 years.” Nonetheless, he acknowledges, “A brand is only as compelling as the fascination it holds for audiences.”
“You need to present something fresh and surprising while also catering to their expectations. That was our objective,” he emphasizes.
The creative team aimed to provide a unique interpretation of the beloved composer—steering clear of familiar adaptations like “Amadeus,” according to von Arnim. They chose instead to depict the siblings in their youth.
“We persuaded our partners to create a show appealing to younger viewers—one that can introduce them to these characters. We contemplated, ‘What would Mozart sound like today, if he were a modern superstar?’” Gutzeit shares.
“While Amadeus constantly vied for attention, it’s not solely about him; it’s about her as well. We intended to capture him at the pinnacle of his fame. Like any true superstar, he has his rise and fall. That’s when she begins to shine.”
As his sister steps in to fill his shoes, their performances reflect their divergent styles on stage.
“I suggested to Eren that he could envision his character akin to Britney Spears or stars thrust into the limelight from childhood. For Maria Anna, we drew inspiration from David Bowie and Pete Doherty. In contrast, she embodies more of a Mulan essence,” von Arnim chuckles, referencing Disney’s iconic tale of a girl taking on a male disguise.
“Throughout the series, her performances grow in magnitude. She claims the stage just as her brother did—yet in a more emotionally resonant way.”
The journey of their narrative appears far from complete.
“There’s undoubtedly scope for more. This inaugural season serves as a summer for these characters. Maria Anna reclaims her aspirations—not just as ‘Mozart,’ but as herself,” observes Oppermann, while Gutzeit confirms the second season is already “prepared to launch.”
“Once again, it will strive to unveil a new perspective on a story you may have thought you knew—hopefully, it will astonish you. Those with any extra funds, step right up—we are ready for your support,” he jests.
Amadeus and Maria Anna share a deep bond, yet they acknowledge that the audience remains paramount.
“Their relationship carries significant weight, leading them into a path filled with tension. As she begins to perform in his stead, what methods does the patriarchy employ to push back? These are intricate themes woven into a highly entertaining narrative,” explains Gutzeit.
“We engaged in meaningful discussions about honoring the Mozart mythos while wanting to stay true to the essence of who these historical figures were, despite their occasional misrepresentation.”
Oppermann states that her intention was never to create a biopic or a mere “history lesson.” She shares, “Similar to what Clara stated, glass ceilings still exist. Young women will be able to resonate with Maria Anna’s struggle for recognition.”
Nonetheless, “Mozart Mozart” does not entirely deviate from factual history, either.
“If audiences wish to verify what is historically accurate, they might be surprised by how true we remain. Welcome to the rabbit hole,” Gutzeit concludes.
