With Mozart, all music is theatre. Symphony, string quartet, serenade… This also holds true for his religious music. Inhabited by this conviction, the bard of the boards Romeo Castellucci and the impassioned Mozartian Raphaël Pichon take hold of the unfinished Requiem by Amadeus in order to make it into a moving theatrical meditation, enriched with numerous barely known vocal pieces. Staged for the first time at the Théâtre de l’Archevêché, the final chef d’oeuvre by Mozart appears not only to be a ritual for the repose of the dead, but also the celebration of the forces of life. Which, through the losses which rhythm the history of the world, continue to stimulate human generations.
The undersigned recognises that the widow Konstanzia Mozart entrusted to him the Mass for the Dead by her deceased husband; that he proposes to complete from now until the middle of the next Lent, and that he swears at the same time not to leave, copy or give it to any person other than Madame widow.
Joseph Eybler: letter of the 21 December 1791, Vienna