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Conclusion

One night in Prague, I went to the Stavovské Divadlo (Estates Theatre) to hear the Mozart Requiem performed by a summer orchestra and choir. The Stavovské is where Mozart๏ฟฝs operas Don Giovanni (1787) and La Clemenza di Tito (1791) were premiered, the latter staged in celebration of the coronation of Emperor Leopold II. For authenticity, the opera scenes for the Miloš Forman film Amadeus were shot at Stavovské, as it๏ฟฝs the only theater still standing in which Mozart once performed. The theater is tiny by contemporary standards -- I estimated about 400 seats, perhaps 250 in the orchestra and another 150 in the tiered boxes rising above where I sat, about mid-hall. This theater is intimate -- although I sat in only the tenth row, there were only six rows behind me, and the orchestra felt and sounded as if it were in my lap. The concert was magnificent, the conductor taking a slow pace reminiscent of Otto Klemperer๏ฟฝs, the orchestra performing with snap and precision. From the beginning, I heard the sound as completely sumptuous, grave and sublime; then each note from each instrument took up its own color, texture, and impact, each section of the choir and then each soloist was distinct -- yet by midway through the score, the full sound of the orchestra and singers together overtook all details to create instead an experience that was emotional, uplifting, and very difficult to describe. I could say it was ๏ฟฝmemorable,๏ฟฝ except I could not clearly recall any single aspect of it to talk about. The music had left thought and even memory behind, and resided in my memory of the deep feelings the music evoked in me.
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