‘Mozart Mozart’ team about the Austrian composer and his forgotten sister

Double the problem, double the fun. In the new series ‘Mozart Mozart’ the audience will get to know the famous Austrian composer – as well as his sister Maria Anna, forgotten by history books.

“It’s very surprising that few people know about her,” says screenwriter Swantje Oppermann, while creator and showrunner Andreas Gutzeit adds: “If you watch the very first scene, you understand who the original child wonder was. She was just as enchanting to the audience – until she changed a woman and her role in society.

In the show, produced by Gutzeit’s Story House Pictures in co-production with giant German pubic bass broacaster Ard (WDR/SWR/ARD Degeto film), Austrian state TV ORF and Dreaming Sheep Company-with Beta-film and Bavaria Media Handling World Sales-Maria Anna finally gets the Spotlight she deserves. Like many other female artists, ignored for centuries.

“It’s interesting that you say it’s a contemporary thing to do – bringing female artists out of the shadows back into the light. That’s probably why I wanted to do this project,” says director Clara von Arnim (“The Zweiflers”), replying Variety‘s question.

“The focus on Maria Anna makes it timeless in a way. As a woman in cultural affairs and in the film industry, you have to make sure you are not underestimated.”

The series stars 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 took on another iconic figure, delivering four seasons of hit “Sisi: Austrian Empress.”

“Despite the fact that everything was said about Sisi, people still bought the show. I realized that having a brand is the key to all these movements in the market. And Mozart has been a brand for more than 250 years.” Yet a brand is only as good “as the allure it has for people.”

“You have to give them something new and unexpected, but at the same time serve their expectations. That was the goal,” he adds.

The team didn’t want to copy another famous version by the composer — least of all “Amadeus,” says von Arnim. Instead, they decided to show the siblings when they are young.

“We convinced our partners that we wanted to make this show for young people too – one that could bring them close to these characters. We asked ourselves, ‘What would Mozart sound like today, if he were a superstar?’ “,” Gutzeit admits.

“Amadeus has always been a jockey for the spotlight, but it’s not just about him. It’s about her. We wanted to catch him at the point where he’s a superstar. And like any good superstar, he explodes and goes down. That’s when she shines.”

His sister suddenly has to replace him, but they behave differently on stage.

“I told Eren that he could see his role a bit like Britney Spears or all these stars dragging the stage from a very young age. In terms of movement, we looked at David Bowie and Pete Doherty. Maria Anna looks more like Mulan,” laughs von Arnim, referring to Disney’s classic about a girl who disguises herself as a man.

“Throughout the series, her shows get bigger. She claims the stage, just like her brother did. But in a more emotional way.”

Their story may not be over yet.

“There is definitely room for more. This first season feels like the summer of these characters. Maria Anna rediscovers her own ambitions. Not only as ‘Mozart’, but also as herself,” notes Oppermann, with Gutzeit assuring that the second season is “ready to go.”

“Again, it will try to add a new layer to the story you thought you knew – hopefully it will knock your socks off. Anyone with some spare cash, please step to the front of the line. We’ll happily accept your contributions,” he jokes.

Amadeus and Maria Anna care deeply for each other. But they also know that the crowd is king.

“Their relationship is very important because the story puts them on a path of confrontation. She starts acting like him, so how does the patriarchy fight back? These are complex issues that we hide in a very entertaining story,” says Gutzeit.

“We had a lot of discussions about respecting the myth of Mozart and wanting to respect that power. But in terms of storytelling, in terms of who these historical figures were, all bets are off because they’ve been misrepresented at times.”

Oppermann never wanted to make a biopic or ‘teach a history lesson’. “Just like Clara said, there are still glass ceilings. Young women will be able to relate to Maria Anna’s struggle to be taken seriously.”

That said, “Mozart Mozart” doesn’t exactly stray from history either.

“If people want to check what’s really true, they’ll be surprised how close we get. Welcome to the rabbit hole,” Gutzeit adds.