nannerl mozart

‘The Other Mozart’ review: sister act 2

Sylvia Milo's one-sister show at Chamber Music Northwest gives Mozart's talented older sibling Nannerl, her music stifled by sexism, her own voice at last

Unlike the previous night’s Chamber Music Northwest music-theater combination, Ordo VirtutumSylvia Milo’s The Other Mozart, performed July 11 at Portland State University’s Lincoln Hall, ran about 75 minutes with no intermission, and I doubt anyone in the audience felt shorted. It’s an audience-broadening treat to see the festival pursuing these mixed theater and music performances, as with last year’s festival’s Brahms/Muhlfeld show.

In truth, unlike Hildegard, there’s not a lot more to say about Wolfgang Amadeus Mozart’s sister Maria Anna, nicknamed Nannerl, at least not that would make interesting stage drama. (She’s been the subject of a film and novels.) That’s because even though she lived more than twice as long as her brother, we know far less about her life, and the patriarchal world she lived in never permitted equivalent opportunities to make it more interesting. Which is part of the point of Milo’s monodrama, which has been running off-Broadway and touring the world since 2014.

Sylvia Milo in ‘The Other Mozart.’

Engagingly narrated (in, for no discernible reason, German-accented English) by Nannerl herself, the story entertainingly tells (not whines) a tragic tale of a talented musician who at almost every turn is denied the opportunities her similarly skilled brother receives, merely because of her gender and her society’s invidious discrimination against it.

Even most classical music fans probably know little of the brat’s big sis beyond the fact that he wrote delightful duets for them to play on keyboards together, and that she was regarded in her time as an excellent player. In The Other Mozart, we learn much about Nannerl’s life from letters she saved  from family members, including her admiring brother himself, and reviews, some praising her youthful keyboard virtuosity. (Most of her own have disappeared — she was only a woman, after all.)

Milo’s narration in Nannerl’s persona gleefully captures the personalities of her brother, father, sister, and other characters she encounters, especially on the European tours arranged by their father Leopold for her and her brother, hoping to turn the performing pre-teen prodigies into money making attractions. Some considered her at least as talented a performer as her brother, who himself thought her the best performer of his keyboard music; she sometimes received top billing.


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