Magic Flute: yes, I know what you mean, and very true. Incidentally, the movie gets across the „this to Mozart‘s contemporaries is pop culture, not high brow“ thing across by the earlier scene with Schikaneder after the Mozarts watched the success of the parodies in Schikaneder‘s theatre.
Amadeus: yes, I did mention it.
Death scene: agreed, for what it was it was moving and powerful, just in in quite different emotional beats than in the film, because here in the play and this production, Salieri is at this point horrified by what he‘s done, aware that he’s become monstrous and seeking absolution from the one person who can give it. And it‘s the sole point in the play where Mozart - what‘s left of him - and Salieri both see each other clearly and connect, for a moment. Which is a different thing from what drives movie!Salieri at the same point; he doesn‘t seek absolution because he never has a moment where he realises he‘s become monstrous, and the connection the scene between them establishes is a creative one. (Also of course early in the scene it‘s Mozart who asks for Salieri‘s forgiveness.)
Re: Act 2 - Magic Flute and Requiem to end
Amadeus: yes, I did mention it.
Death scene: agreed, for what it was it was moving and powerful, just in in quite different emotional beats than in the film, because here in the play and this production, Salieri is at this point horrified by what he‘s done, aware that he’s become monstrous and seeking absolution from the one person who can give it. And it‘s the sole point in the play where Mozart - what‘s left of him - and Salieri both see each other clearly and connect, for a moment. Which is a different thing from what drives movie!Salieri at the same point; he doesn‘t seek absolution because he never has a moment where he realises he‘s become monstrous, and the connection the scene between them establishes is a creative one. (Also of course early in the scene it‘s Mozart who asks for Salieri‘s forgiveness.)