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Mozart's Last Aria
Award-winning author Matt Rees takes readers to 18th century Austria, where Mozart’s estranged sister Nannerl stumbles into a world of ambition, conspiracy, and immortal music while attempting to uncover the truth about her brother’s suspicious death. Did Mozart’s life end in murder? Nannerl must brave dire circumstances to find out, running afoul of the secret police, the freemasons, and even the Austrian Emperor himself as she delves into a scandal greater than she had ever imagined. With captivating historical details, compelling characters, and a real-life mystery upon which everything hinges, Rees—the award-winning author of the internationally acclaimed Omar Yussef crime series—writes in the tradition of Irvin Yalom’sWhen Nietzsche Wept, Louis Bayard’s The Pale Blue Eye, andPhillip Sington’s The Einstein Girl to achievethe very best in historical fiction with Mozart’s Last Aria.
320 pages, Paperback
First published January 1, 2011
169 people are currently reading
3649 people want to read
About the author
Matt Rees
41 books197 followersI'm an award-winning writer of international thrillers, mysteries, and historical fiction. I'm giving away a FREE ebook THE THRILLER CHECKLIST, a no-nonsense guide to get your thriller written. Get it here: http://bit.ly/2r2jciK.
My novels have grown out of my career as a Middle East correspondent, which took me into culture very different from my own, and my love of history, which takes me into times very different from now. But those places and times aren't so completely different. I love to examine the emotions that connect you and me to people who live in distant places or distant times.
My books have been dramatized for BBC Radio and published in 25 languages. Along the way I picked up some major awards (a Crime Writers Association Dagger in the UK and a National Jewish Book Council finalist in the US)) and some nice compliments: major authors have compared my writing with the work of Graham Greene, John Le Carre, Georges Simenon and Henning Mankell.
My novels have grown out of my career as a Middle East correspondent, which took me into culture very different from my own, and my love of history, which takes me into times very different from now. But those places and times aren't so completely different. I love to examine the emotions that connect you and me to people who live in distant places or distant times.
My books have been dramatized for BBC Radio and published in 25 languages. Along the way I picked up some major awards (a Crime Writers Association Dagger in the UK and a National Jewish Book Council finalist in the US)) and some nice compliments: major authors have compared my writing with the work of Graham Greene, John Le Carre, Georges Simenon and Henning Mankell.
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Displaying 1 - 30 of 343 reviews
July 18, 2011
Never has the structure of a novel felt more important than in Mozart's Last Aria. Matt Rees takes the essence of Mozart's music to weave a plot that showcases musical genius alongside a desperately paranoid and rather naive young man, who just wanted to introduce equality to all levels of society. Rees starts with a difficult opening - as Nannerl hears about her estranged brother's death and starts to learn that he believed he was being murdered through slow poisoning. The central portion of the book is a more thoughtful and reflective period, where Nannerl discovers more about her brother's place in Viennese society. The final, explosive portion of the novel is the triumphant climax of the music - as Matt Rees calls it: "a crime novel in A minor."
It's been a while since I've read a novel that is as cleverly put together as Mozart's Last Aria. I appreciated the rising tension, the slow build as Nannerl starts to put all the clues together.
This would be nothing, though, without the exploration of Mozart's relationships with those close to him - his wife, his children, the Brothers of his Masonic Lodge, and Nannerl herself. This helps the reader to discover the man behind the music.
I loved the parts of Mozart's Last Aria that dealt with the Masons and how Mozart explored the future of the Masonic Brotherhood through the forms of his operatic pieces, particularly The Magic Flute. The Masons could so easily become an over-used device - all dark cloaks and twirling moustaches, but Rees presents them sympathetically, especially the notion of equality.
The only part of the novel that I wasn't sure about were Nannerl's encounters with the Baron Swieten. It did help to explain why the Baron might have been so willing to lend his aid to Nannerl, but I found it to be a little too sensationalist.
This is an entertaining and swift read through the possibility of Mozart being murdered. The mystery of who might be behind the murder - if, in fact, it is such - will keep the reader guessing to the end, and the character of Nannerl is one to be cherished. But the real treasure of Mozart's Last Aria is the appreciation of the man's music, and allows him to take his place as a true virtuoso.
It's been a while since I've read a novel that is as cleverly put together as Mozart's Last Aria. I appreciated the rising tension, the slow build as Nannerl starts to put all the clues together.
This would be nothing, though, without the exploration of Mozart's relationships with those close to him - his wife, his children, the Brothers of his Masonic Lodge, and Nannerl herself. This helps the reader to discover the man behind the music.
I loved the parts of Mozart's Last Aria that dealt with the Masons and how Mozart explored the future of the Masonic Brotherhood through the forms of his operatic pieces, particularly The Magic Flute. The Masons could so easily become an over-used device - all dark cloaks and twirling moustaches, but Rees presents them sympathetically, especially the notion of equality.
The only part of the novel that I wasn't sure about were Nannerl's encounters with the Baron Swieten. It did help to explain why the Baron might have been so willing to lend his aid to Nannerl, but I found it to be a little too sensationalist.
This is an entertaining and swift read through the possibility of Mozart being murdered. The mystery of who might be behind the murder - if, in fact, it is such - will keep the reader guessing to the end, and the character of Nannerl is one to be cherished. But the real treasure of Mozart's Last Aria is the appreciation of the man's music, and allows him to take his place as a true virtuoso.
October 2, 2019
The early death of Wolfgang Amadeus Mozart at the age of 35 is left with many speculations. The official record refers to a rash. But one of the speculations is poisoning, which this story explores.
1791 Salzburg, Austria, Nannerl, Mozart’s sister, receives a letter informing her of her brother’s death and his suspicion of possible poisoning. Upon arrival in Vienna, Nannerl learns about her brother’s wish of equality and creation of a secret society of Freemasons to fulfill his wish. As she unravels the mystery, it points to his membership of a Masonic lodge which might have endangered him.
The story starts interesting and has a tone of a novel. However, once the mystery attitude takes over I lost the interest in reading it. It is a personal preference. I do not like the tone of mystery/thrillers. I am all about novels. So depending what genre you like to read, you may like this book.
1791 Salzburg, Austria, Nannerl, Mozart’s sister, receives a letter informing her of her brother’s death and his suspicion of possible poisoning. Upon arrival in Vienna, Nannerl learns about her brother’s wish of equality and creation of a secret society of Freemasons to fulfill his wish. As she unravels the mystery, it points to his membership of a Masonic lodge which might have endangered him.
The story starts interesting and has a tone of a novel. However, once the mystery attitude takes over I lost the interest in reading it. It is a personal preference. I do not like the tone of mystery/thrillers. I am all about novels. So depending what genre you like to read, you may like this book.
May 24, 2013
There's a blurb on the back, surprisingly, from NPR: "The Da Vinci Code, but this time with Masons and musical manuscripts." Pretty sure they read a different book than I did.
I wanted very much to like this, honestly. But some of the plot points weren't very believable, the choice of words in conversations (If you were talking about your brother, would you always use his name, or occasionally refer to him as, well, "him"? Particularly in a conversation where his name is mentioned a number of times in a few sentences), and, frankly, outside of learning a few new things about Mozart's music, I don't feel there was any "pulling back the curtain... on powerful secrets." (From the back cover of the paperback version.) In fact, I learned more about Vienna than I did the Masons. Which I don't mind learning about different places, but when the book is touted for a specific aspect, perhaps there should be more information instead of just providing what's generally known as common information. I definitely feel I should've chosen differently for the 100th book of the year.
I wanted very much to like this, honestly. But some of the plot points weren't very believable, the choice of words in conversations (If you were talking about your brother, would you always use his name, or occasionally refer to him as, well, "him"? Particularly in a conversation where his name is mentioned a number of times in a few sentences), and, frankly, outside of learning a few new things about Mozart's music, I don't feel there was any "pulling back the curtain... on powerful secrets." (From the back cover of the paperback version.) In fact, I learned more about Vienna than I did the Masons. Which I don't mind learning about different places, but when the book is touted for a specific aspect, perhaps there should be more information instead of just providing what's generally known as common information. I definitely feel I should've chosen differently for the 100th book of the year.
November 21, 2011
I'm going to be a bit harsh in the review, but I can't really help it.. I was too disappointed. I really wanted to give this more stars than three. Honestly, if I could be more accurate, I'd give it three and a half. But since I can't give it that extra half, I had to round down, and give it three.
Big reason for rounding down: The fluffy writing. Don't get me wrong, I enjoy fluff. I like it in my pillows, on my dog, and under my butt when I'm driving. But I don't enjoy excessive fluffy, sensational language in 230 pages of text. 50 pages, I can do, but four times that many wears on my psyche after a while.
Which means the first fifty pages were actually pretty enjoyable, because the style of writing set the pace well, and lent a sense of urgency to Nannerl's heading to Vienna and the mystery surrounding Mozart's death. The next nearly 200 felt very rushed and overdone, with the author trying to soak up every magical aspect of Mozart's music and saturate the pages with the saccharine goodness, while running through the timeline at supersonic speed, without pausing more than a moment to look around.
Which leads to my next qualm: Undercharacterization. The author was so focused on bringing up all the Masonic connections and underlying politics (which was admittedly pretty interesting), that he completely missed the character-building process. I can't really recall anything special or extraordinary about any of the characters, save that Nannerl and the Baron had way too much sappy chemistry.
Which was, I have to say, the most annoyiny plot addition. Really, the woman proclaims her love for the man after knowing him for all of about three days, and then acts like her heart is completely shattered when he betrays her. I realize that men like to think of women as delicate flowers unable to rein their emotions in, but that particular characterization by the author was rather obnoxious, and totally turned me off to her. I had a lot of trouble finishing the book after that, actually. Luckily, there wasn't much left, or else I wouldn't have bothered.
The rest of the characters were interesting enough, but there were so many random characters who felt very.. Overindulged, for lack of a better word. Like all the players were written in the style of one of Mozart's operas, with everyone in stage make-up and belting out lines so that even the cheap seats can hear. There was a random, unnecessary scene in a crypt, and overdramatic indulgences where Nannerl has apparently boundless intuition. People don't have to even say anything around her; they just look down at the floor a certain way, and she knows exactly what Masonic connection they are. Very over-the-top, and not easily connected to at all.
But besides the obnoxious female character flaws, the book had a lot of good things. Rees obviously knows his music, and brings out the beauty of being a musician, as well as the subtle nuances in Mozart's compositions really well. His passion is infectious, and as an ex-music major myself, I completely understood it. Very personal, and very joyful. I really enjoyed that touch to the story, and the main three stars is for that passion alone. It's beautiful.
However, this book felt so much like a fountain of potential, that never really fully delivered; I just felt so let-down at the end. Perhaps Rees will do another historical fiction with Beethoven, and take more time to allow the story to unfold (without the dramatic female love entanglements), because I could see that being worth reading.
Big reason for rounding down: The fluffy writing. Don't get me wrong, I enjoy fluff. I like it in my pillows, on my dog, and under my butt when I'm driving. But I don't enjoy excessive fluffy, sensational language in 230 pages of text. 50 pages, I can do, but four times that many wears on my psyche after a while.
Which means the first fifty pages were actually pretty enjoyable, because the style of writing set the pace well, and lent a sense of urgency to Nannerl's heading to Vienna and the mystery surrounding Mozart's death. The next nearly 200 felt very rushed and overdone, with the author trying to soak up every magical aspect of Mozart's music and saturate the pages with the saccharine goodness, while running through the timeline at supersonic speed, without pausing more than a moment to look around.
Which leads to my next qualm: Undercharacterization. The author was so focused on bringing up all the Masonic connections and underlying politics (which was admittedly pretty interesting), that he completely missed the character-building process. I can't really recall anything special or extraordinary about any of the characters, save that Nannerl and the Baron had way too much sappy chemistry.
Which was, I have to say, the most annoyiny plot addition. Really, the woman proclaims her love for the man after knowing him for all of about three days, and then acts like her heart is completely shattered when he betrays her. I realize that men like to think of women as delicate flowers unable to rein their emotions in, but that particular characterization by the author was rather obnoxious, and totally turned me off to her. I had a lot of trouble finishing the book after that, actually. Luckily, there wasn't much left, or else I wouldn't have bothered.
The rest of the characters were interesting enough, but there were so many random characters who felt very.. Overindulged, for lack of a better word. Like all the players were written in the style of one of Mozart's operas, with everyone in stage make-up and belting out lines so that even the cheap seats can hear. There was a random, unnecessary scene in a crypt, and overdramatic indulgences where Nannerl has apparently boundless intuition. People don't have to even say anything around her; they just look down at the floor a certain way, and she knows exactly what Masonic connection they are. Very over-the-top, and not easily connected to at all.
But besides the obnoxious female character flaws, the book had a lot of good things. Rees obviously knows his music, and brings out the beauty of being a musician, as well as the subtle nuances in Mozart's compositions really well. His passion is infectious, and as an ex-music major myself, I completely understood it. Very personal, and very joyful. I really enjoyed that touch to the story, and the main three stars is for that passion alone. It's beautiful.
However, this book felt so much like a fountain of potential, that never really fully delivered; I just felt so let-down at the end. Perhaps Rees will do another historical fiction with Beethoven, and take more time to allow the story to unfold (without the dramatic female love entanglements), because I could see that being worth reading.
November 7, 2011
In “Mozart’s last aria,” Matt Rees takes the real-life historical mystery of Mozart’s murder, and uses real-life facts and characters to present a possible solution to the case.
In the early 1790s, Europe is facing some major problems. The French Revolution is going on in France. Prussia and Austria are sworn enemies. And Mozart loses his life in mysterious circumstances, suspecting poisoning. Mozart’s story kicks off when his sister, Nannerl, is dying and gives Mozart’s son the diary she kept. Upon learning of Mozart’s mysterious death, Nannerl leaves her village of Salzburg and travels to Vienna, where her brother Mozart had gained success and gained entry to the highest social circles. Nannerl’s aim is simple: find out what happened to her brother.
Except, the world she encounters is a different Vienna than in her youth. The atmosphere is no longer open and laid-back, but secretive and deceptive. As Nannerl meets some of Mozart’s friends—piano pupil Magdalena Hofdemel, actor Karl Gieseke, patron Prince Lichnowsky, impresario Emanuel Schikaneder, musician Anton Stadler, and head of imperial library Baron Swieden—she can’t help feeling that they know something about her brother’s murder. As Nannerl starts questioning them, she enters a dangerous game—as she is attacked on the street, and forced to fear for her safety.
Overall, this is a seductive read. Initially I was concerned that the historical details and multitude of characters might interfere with the writing, but thankfully this was not the case. Right at the beginning of the book, Rees provides the reader with a list of characters and their identities. The writing itself, despite the amount of historical data, is easy to follow. Yet, the mystery itself is anything but simple. Every time you think the killer is unmasked, Rees takes it one step further. I thought it was an interesting, well thought out mystery.
In the early 1790s, Europe is facing some major problems. The French Revolution is going on in France. Prussia and Austria are sworn enemies. And Mozart loses his life in mysterious circumstances, suspecting poisoning. Mozart’s story kicks off when his sister, Nannerl, is dying and gives Mozart’s son the diary she kept. Upon learning of Mozart’s mysterious death, Nannerl leaves her village of Salzburg and travels to Vienna, where her brother Mozart had gained success and gained entry to the highest social circles. Nannerl’s aim is simple: find out what happened to her brother.
Except, the world she encounters is a different Vienna than in her youth. The atmosphere is no longer open and laid-back, but secretive and deceptive. As Nannerl meets some of Mozart’s friends—piano pupil Magdalena Hofdemel, actor Karl Gieseke, patron Prince Lichnowsky, impresario Emanuel Schikaneder, musician Anton Stadler, and head of imperial library Baron Swieden—she can’t help feeling that they know something about her brother’s murder. As Nannerl starts questioning them, she enters a dangerous game—as she is attacked on the street, and forced to fear for her safety.
Overall, this is a seductive read. Initially I was concerned that the historical details and multitude of characters might interfere with the writing, but thankfully this was not the case. Right at the beginning of the book, Rees provides the reader with a list of characters and their identities. The writing itself, despite the amount of historical data, is easy to follow. Yet, the mystery itself is anything but simple. Every time you think the killer is unmasked, Rees takes it one step further. I thought it was an interesting, well thought out mystery.
September 16, 2017
Matt Rees wykorzystał historyczną zagadkę i wykreował nie lada kryminalną opowieść w oświeceniowym duchu, opierając się na jednej z najpopularniejszych legend, dotyczących śmierci kompozytora. Co więcej, zafascynowany jego muzyką, oparł nawet „Ostatnią Arię Mozarta” na strukturze inspirowanej pełną pasji sonatą a-moll, co sprawia, że cała powieść przypomina pieczołowicie spisaną kompozycję, nawiązującą charakterem do utworu muzycznego. Tym samym, czytelnik otrzymuje historyczną opowieść pełną pasji, muzyki i polityki, naznaczoną śmiercią oraz sekretami, które sięgają głębiej, niż moglibyśmy przypuszczać. A to wszystko podane lekko, niezobowiązująco, opowiedziane ustami kobiety, o której talencie świat zapomniał, kiedy tylko zeszła ze sceny. Siostry, w której rysach przez lata jeszcze postrzegano widmo brata – Marii Anny Mozart.
April 23, 2020
In 1791 Austria, Mozart's estranged sister Nannerl receives news of her brother's death. Seeking answers, she journeys to Vienna, where she discovers that her brother may have been murdered.
I was really excited to read this book, based on the gorgeous cover and the elegant setting. However, I was completely disappointed, and this book just might be the worst I have read yet this year.
The plot and characterization were weakly written, and I simply could not bring myself to care about any of it. Perhaps the only entertaining thing about this book was waiting to see what dumb thing the unconvincing main character would do next.
Our 'heroine' of the book, Nannerl, was simply awful. She is forever swooning and gasping and bursting into tears over things that absolutely do not warrant anything so dramatic.
In one scene, while sneaking in to witness a secret Masonic meeting, Nannerl observes a new member being sworn into the Brotherhood. Part of the ritual involves proclaiming that if he ever reveals the secrets of the Brotherhood to non-members, his punishment will be death. Hmm, kind of sounds like the Masons don't want anyone eavesdropping on their super-secret rituals, doesn't it? Additionally, it has been clearly stated that they particularly do not want their secrets revealed to women, and Nannerl even believes that they may be the ones who murdered her brother.
And yet, Nannerl spectacularly fails at staying undercover because when she hears that the Brotherhood would threaten traitors with death (the shock! the horror!), she screams at the top of her lungs. Yes. Screams.
She then flees the scene, and although some of the members express outrage that woman witnessed the swearing in, they do not go after her, and the incident is never spoken of again. What! The entire plot, the author keeps telling us that the Masons will kill someone simply for hinting at their very existence. Now someone has witnessed their intimate meetings, seen all of their faces, and that's going to be brushed over?
At the mere mention of the word "vomit," Nannerl "whimpers." She is forever stumbling about and crying out in shock at things that aren't actually shocking. Even when preparing to go down a staircase one time, she becomes afraid of the height and cries and stumbles in fear.
In another scene, she is about to perform for the Emperor. She met him when he was just a baby, but now he is a grown man decades later. She asks someone, "Do you think I'll find him much changed?" And unfortunately, she is not joking.
That isn't all - she's also a horrible person. She was given both her and her brother's portion of the inheritance, as their father was bitter over his son leaving to pursue music in his own way. She never gave any of the money to Mozart, despite the fact that he was struggling financially. She simply took all of the money for herself, and when she is confronted about it in the book, she weakly protests "Well, that was what Dad wanted." Now that she is visiting Mozart's family, and his widow is drowning in debt and in desperate need of cash, Nannerl still never for an instant considers helping her sister-in-law and young nephew.
And yet, she disapproves of the woman selling some of Mozart's music to pay off debtors!
Additionally, she clearly and without ambiguity treats and talks about her maids as if they are lesser people, or another species entirely, that does not deserve human respect. She even has the nerve to state one day that she is not the type to be born a servant, she could never do work like that, ew. As if anyone would say, yeah, I'm the type to be born a mistreated servant. That's me.
Well, the review has already gotten quite long and has mainly been about how awful the main character is.
Otherwise, I found the plot weak, I certainly did not get the least bit invested in the elements of it: finding out if someone murdered Mozart, the Masonic Brotherhood, a horrible and exasperating little romance sub-plot (simply another excuse for our dreadful main character to weep and faint and stumble under the weight of her emotions, whilst adding cheating wife to her list of accolades). None of it was interesting, and I couldn't wait to finish the book.
I am searching for the slightest redeeming quality here, so I will say that the descriptions of music were well written and made me interested in listening to Mozart's work with fresh insight. These were the only few paragraphs of the book that seemed to have soul and beauty. Also, however illogical, the climax of the book, and the way in which the 'bad guy' was taken down was unexpectedly satisfying and memorable.
However, Nannerl may just be one of my least favorite characters ever, and I cannot find any redeeming factors elsewhere. Not recommended.
If you are interested in reading about Nannerl Mozart's story, I would recommend In Mozart's Shadow by Carolyn Meyer. It is a YA Book that focuses on her earlier years.
I was really excited to read this book, based on the gorgeous cover and the elegant setting. However, I was completely disappointed, and this book just might be the worst I have read yet this year.
The plot and characterization were weakly written, and I simply could not bring myself to care about any of it. Perhaps the only entertaining thing about this book was waiting to see what dumb thing the unconvincing main character would do next.
Our 'heroine' of the book, Nannerl, was simply awful. She is forever swooning and gasping and bursting into tears over things that absolutely do not warrant anything so dramatic.
In one scene, while sneaking in to witness a secret Masonic meeting, Nannerl observes a new member being sworn into the Brotherhood. Part of the ritual involves proclaiming that if he ever reveals the secrets of the Brotherhood to non-members, his punishment will be death. Hmm, kind of sounds like the Masons don't want anyone eavesdropping on their super-secret rituals, doesn't it? Additionally, it has been clearly stated that they particularly do not want their secrets revealed to women, and Nannerl even believes that they may be the ones who murdered her brother.
And yet, Nannerl spectacularly fails at staying undercover because when she hears that the Brotherhood would threaten traitors with death (the shock! the horror!), she screams at the top of her lungs. Yes. Screams.
She then flees the scene, and although some of the members express outrage that woman witnessed the swearing in, they do not go after her, and the incident is never spoken of again. What! The entire plot, the author keeps telling us that the Masons will kill someone simply for hinting at their very existence. Now someone has witnessed their intimate meetings, seen all of their faces, and that's going to be brushed over?
At the mere mention of the word "vomit," Nannerl "whimpers." She is forever stumbling about and crying out in shock at things that aren't actually shocking. Even when preparing to go down a staircase one time, she becomes afraid of the height and cries and stumbles in fear.
In another scene, she is about to perform for the Emperor. She met him when he was just a baby, but now he is a grown man decades later. She asks someone, "Do you think I'll find him much changed?" And unfortunately, she is not joking.
That isn't all - she's also a horrible person. She was given both her and her brother's portion of the inheritance, as their father was bitter over his son leaving to pursue music in his own way. She never gave any of the money to Mozart, despite the fact that he was struggling financially. She simply took all of the money for herself, and when she is confronted about it in the book, she weakly protests "Well, that was what Dad wanted." Now that she is visiting Mozart's family, and his widow is drowning in debt and in desperate need of cash, Nannerl still never for an instant considers helping her sister-in-law and young nephew.
And yet, she disapproves of the woman selling some of Mozart's music to pay off debtors!
Additionally, she clearly and without ambiguity treats and talks about her maids as if they are lesser people, or another species entirely, that does not deserve human respect. She even has the nerve to state one day that she is not the type to be born a servant, she could never do work like that, ew. As if anyone would say, yeah, I'm the type to be born a mistreated servant. That's me.
Well, the review has already gotten quite long and has mainly been about how awful the main character is.
Otherwise, I found the plot weak, I certainly did not get the least bit invested in the elements of it: finding out if someone murdered Mozart, the Masonic Brotherhood, a horrible and exasperating little romance sub-plot (simply another excuse for our dreadful main character to weep and faint and stumble under the weight of her emotions, whilst adding cheating wife to her list of accolades). None of it was interesting, and I couldn't wait to finish the book.
I am searching for the slightest redeeming quality here, so I will say that the descriptions of music were well written and made me interested in listening to Mozart's work with fresh insight. These were the only few paragraphs of the book that seemed to have soul and beauty. Also, however illogical, the climax of the book, and the way in which the 'bad guy' was taken down was unexpectedly satisfying and memorable.
However, Nannerl may just be one of my least favorite characters ever, and I cannot find any redeeming factors elsewhere. Not recommended.
If you are interested in reading about Nannerl Mozart's story, I would recommend In Mozart's Shadow by Carolyn Meyer. It is a YA Book that focuses on her earlier years.
September 15, 2012
I love Mozart's music and have read a bit about his life. And the book is mystery, so it sounded like fun. It wasn't.
My biggest issue with the writing was the portrayal of emotions. The author would tell us that someone was feeling a particular emotion and my response was often, "Really?". I didn't get it from way events were told. It just seemed out of the blue when the author was say "So-and-so felt rapturous." Just being told it doesn't work for me; I want it to shown. I want to have the picture drawn. The effect was to drive me away from the characters, because I couldn't see how they could be feeling that. What kind of people are these?!?! So I didn't care about anyone in the book.
Another problem was that people kept telling the protagonist, Nannerl, how dangerous her investigation was and that she shouldn't be doing it, and yet they kept giving her information to continue investigating. They'd say one thing and do another. Was annoying.
And I sure must have missed something about the ending. Nannerl and her ally seemed to decide who the culprit was by picking who they wanted to have done it, rather than by evidence. They didn't like what so-and-so was doing so let's say they did it. And I thought the climactic unmasking scene was just ludicrous. Nothing in the villian's personality up to that point had indicated they would react the way they did. The scene was just so unbelievable.
My biggest issue with the writing was the portrayal of emotions. The author would tell us that someone was feeling a particular emotion and my response was often, "Really?". I didn't get it from way events were told. It just seemed out of the blue when the author was say "So-and-so felt rapturous." Just being told it doesn't work for me; I want it to shown. I want to have the picture drawn. The effect was to drive me away from the characters, because I couldn't see how they could be feeling that. What kind of people are these?!?! So I didn't care about anyone in the book.
Another problem was that people kept telling the protagonist, Nannerl, how dangerous her investigation was and that she shouldn't be doing it, and yet they kept giving her information to continue investigating. They'd say one thing and do another. Was annoying.
And I sure must have missed something about the ending. Nannerl and her ally seemed to decide who the culprit was by picking who they wanted to have done it, rather than by evidence. They didn't like what so-and-so was doing so let's say they did it. And I thought the climactic unmasking scene was just ludicrous. Nothing in the villian's personality up to that point had indicated they would react the way they did. The scene was just so unbelievable.
September 17, 2012
Mozart believed that he was poisoned weeks before he died. Upon hearing of his death, his sister Nannerl travels to his home in Vienna. Whatever Freemason directive he tried to promote may have been the cause of his death. ("The Magic Flute" plays a very important role and has a lot of secrets hidden within its score.) Nannerl stops at nothing to find his killer. Enjoying Mozart's music, discussions of 18th Century music performance and descriptions of daily life in Vienna of the time. (Historical mystery.)
July 27, 2011
I found this tremendously disappointing. I love Matt Rees' other books set in Palestine and this was a whole new departure. I think I may have enjoyed it a lot more had I had an appreciation of Mozart's later music and the philosophy behind it. But as it was, I found the characters wooden, unbelievable and full of clichés, while the story was pretty weak.
February 24, 2019
First time reading this author thanks to a review of this 2011 book here by John Grant. I liked this book so much I ordered one for my sister whose birthday is coming up, another pianist as am I. I do think a love or appreciation of Mozart's sonatas enhances this read. Not mandatory, of course.
The male author succeeded in creating authentic point of view of the female narrator, Mozart's older sister Nannerl. He does provide notes at the end of the book explaining his practice of meditation. It works.
Well...not much to tell beyond knowing Mozart died far too young - age 35 - with rumors of his poisoning in the friendly town of Vienna where he made his home. Nannerl had not seen her brother for a number of years though they had been so close growing up, performing in Europe together as child prodigies managed by their father. Nannerl got the job of taking care of her father while Wolfgang made his way composing, teaching, performing.
The book opens with one of the strongest parts of the novel. The portrayal of her cold husband is masterful. Her situation as third wife to take care of the five children from the first two dead wives is stark indeed. She tells her husband about the letter she has received advising her of her brother's death and tells him she is going to go to Vienna. He does not embrace this plan, "Surely he was dead to you already."
She does travel to Vienna; she does perform in public; she does meet with all her brother's friends; she learns many of them are Masons; she does investigate the circumstances of his poisoning, and in the end learns some bitter and difficult life lessons.
The author allows us to see Nannerl open as a flower as she experiences freedom from male dominance for the first time since childhood.
I will try this author's Omar Yussef books next.
The male author succeeded in creating authentic point of view of the female narrator, Mozart's older sister Nannerl. He does provide notes at the end of the book explaining his practice of meditation. It works.
Well...not much to tell beyond knowing Mozart died far too young - age 35 - with rumors of his poisoning in the friendly town of Vienna where he made his home. Nannerl had not seen her brother for a number of years though they had been so close growing up, performing in Europe together as child prodigies managed by their father. Nannerl got the job of taking care of her father while Wolfgang made his way composing, teaching, performing.
The book opens with one of the strongest parts of the novel. The portrayal of her cold husband is masterful. Her situation as third wife to take care of the five children from the first two dead wives is stark indeed. She tells her husband about the letter she has received advising her of her brother's death and tells him she is going to go to Vienna. He does not embrace this plan, "Surely he was dead to you already."
She does travel to Vienna; she does perform in public; she does meet with all her brother's friends; she learns many of them are Masons; she does investigate the circumstances of his poisoning, and in the end learns some bitter and difficult life lessons.
The author allows us to see Nannerl open as a flower as she experiences freedom from male dominance for the first time since childhood.
I will try this author's Omar Yussef books next.
September 9, 2013
As I started to read the book, I was so excited about winning on Goodreads, I was hoping for a story of intrigue and suspense, but overall, that was not the case. Reading MOZART'S LAST ARIA was like listening to a piece of music whose notes did not venture beyond the lines of the musical staff. E-G-B-D-F over and over again. When the story yearned to go into a high G, the composer dragged it down an octave. When the story started going into a low D, the same thing occurred and I was left feeling flat and disappointed watching the dynamics of this piece fall apart. I was also left uninspired more often than not and at some point hoped that this aria would reach its curtain call.
When this composition ended, I was left wondering what the point of the story was---was it a family love story, a murder mystery, an equality for all story, or a romantic love story? As far as all the politics involved in the story---I got all that and understand why Mozart had to die and who all the players were, and why they all did what they did,--revolution, Masonic link, divine right of kings being questioned by Masonic equality etc, but it wasn't enough for me to feel that this story was fulfilling.
I think the main problem is that the main character Mozart's sister, Nannerl, is played as flat as a child barely learning to play an instrument. Until that child learns how to play each note properly, there is no way they can bring expression to the music they play. While it is evident that the composer of this story is an avid fan of Mozart, as a reader I never felt myself pulled into caring about Mozart and his death as much as the composer of this work does. Mozart was a composer and a brilliant one at that, but as much as the writer mentioned one piece of his work as another, I never felt Mozart. He was a whole note----a circle with no center. The story surrounds him, but his heart is absent. The ending--Nannerl dying with the necklace given to her by the Baron left me feeling validated in not caring about Mozart's death--at the end she seemed to remember her loss of the Baron more than that of her brother whose death had originally taken her to Vienna. To top that off, the romance centering on the love between Nannerl and the Baron was really really lacking in romance and love--it felt like it was tossed in there for good measure and nothing more. Lack of development of the main characters, lack of development of important parts of the story left me feeling like I had just listened to the lyrics in Yanni's Aria* instead of "The Magic Flute" by Mozart, which is a very important part of this story.
* About Yanni's Aria: The music is loosely based on the French opera from the 19th century called 'Lakme' by Leo Delibes, but Yanni didn't use actual words in the song -- they are vocal expressions or sounds made with singing voices. I'm aware of some the sounds seem like words -- especially French words -- but they aren't... at least, probably not intentionally.
I really like the premise of this story and overall it is a decent read. Unfortunately, it falls flat in two big ways----flat characters and flat story development--too much fluff and not enough stuff. Perhaps a little less Mozart (relating everything to his music and piano playing) would have given this story more depth, more Nannerl, more romance, more love, and in the end, more Mozart as well.
When this composition ended, I was left wondering what the point of the story was---was it a family love story, a murder mystery, an equality for all story, or a romantic love story? As far as all the politics involved in the story---I got all that and understand why Mozart had to die and who all the players were, and why they all did what they did,--revolution, Masonic link, divine right of kings being questioned by Masonic equality etc, but it wasn't enough for me to feel that this story was fulfilling.
I think the main problem is that the main character Mozart's sister, Nannerl, is played as flat as a child barely learning to play an instrument. Until that child learns how to play each note properly, there is no way they can bring expression to the music they play. While it is evident that the composer of this story is an avid fan of Mozart, as a reader I never felt myself pulled into caring about Mozart and his death as much as the composer of this work does. Mozart was a composer and a brilliant one at that, but as much as the writer mentioned one piece of his work as another, I never felt Mozart. He was a whole note----a circle with no center. The story surrounds him, but his heart is absent. The ending--Nannerl dying with the necklace given to her by the Baron left me feeling validated in not caring about Mozart's death--at the end she seemed to remember her loss of the Baron more than that of her brother whose death had originally taken her to Vienna. To top that off, the romance centering on the love between Nannerl and the Baron was really really lacking in romance and love--it felt like it was tossed in there for good measure and nothing more. Lack of development of the main characters, lack of development of important parts of the story left me feeling like I had just listened to the lyrics in Yanni's Aria* instead of "The Magic Flute" by Mozart, which is a very important part of this story.
* About Yanni's Aria: The music is loosely based on the French opera from the 19th century called 'Lakme' by Leo Delibes, but Yanni didn't use actual words in the song -- they are vocal expressions or sounds made with singing voices. I'm aware of some the sounds seem like words -- especially French words -- but they aren't... at least, probably not intentionally.
I really like the premise of this story and overall it is a decent read. Unfortunately, it falls flat in two big ways----flat characters and flat story development--too much fluff and not enough stuff. Perhaps a little less Mozart (relating everything to his music and piano playing) would have given this story more depth, more Nannerl, more romance, more love, and in the end, more Mozart as well.
This entire review has been hidden because of spoilers.
June 17, 2012
As someone who eagerly eats up practically any Mozart-related book, I was eager to read this mystery about his death narrated by Nannerl, his sister. This book intrigued me in particular because, while most fictional Mozart books paint Nannerl as the "lost sister" whose greatness was overshadowed by her brother (a conception which in my opinion does not need 500 books and movies devoted to it), this book took a new approach and had Nannerl investigating the events of Mozart's death.
The Good: Rees' descriptions are very strong, especially those of Vienna. He evokes the time period well. His writing style ensures the book moves along at a quick pace. I enjoyed his characterizations, particularly of Constanze. I especially appreciated Rees' note at the end about the fact vs. fiction and what had actually happened, although a little bit more historical note and truth would have pleased this Mozart addict. It was also awesome to see some players in Mozart's history brought to life, such as Magdalena Hofdemel (whose story could easily be a book itself!) and von Paradis.
The Bad: Like another reviewer noted, I also had difficulties imagining Nannerl as some private eye investigator, roaming around Vienna to get the scoop on her brother's death, although there were only a few moments during my reading experience where I felt like that.
Overall: I give this book three stars. It's great to read a Mozart-related fiction novel, but I do wish one would come out that isn't so sensationalist. This one falls low on the scale though, if you compare it against others like Amadeus. The mystery is engaging, but personally I found the truth more interesting. If you want to read another Mozart fiction that is more realistic, try Marrying Mozart, or for non-fiction coverage of Mozart's life, try anything by H.C. Robbins Landon. The Maynard Solomon book that is mentioned at the end of Rees' novel is good, but quite overwhelming and analytical for newcomers.
The Good: Rees' descriptions are very strong, especially those of Vienna. He evokes the time period well. His writing style ensures the book moves along at a quick pace. I enjoyed his characterizations, particularly of Constanze. I especially appreciated Rees' note at the end about the fact vs. fiction and what had actually happened, although a little bit more historical note and truth would have pleased this Mozart addict. It was also awesome to see some players in Mozart's history brought to life, such as Magdalena Hofdemel (whose story could easily be a book itself!) and von Paradis.
The Bad: Like another reviewer noted, I also had difficulties imagining Nannerl as some private eye investigator, roaming around Vienna to get the scoop on her brother's death, although there were only a few moments during my reading experience where I felt like that.
Overall: I give this book three stars. It's great to read a Mozart-related fiction novel, but I do wish one would come out that isn't so sensationalist. This one falls low on the scale though, if you compare it against others like Amadeus. The mystery is engaging, but personally I found the truth more interesting. If you want to read another Mozart fiction that is more realistic, try Marrying Mozart, or for non-fiction coverage of Mozart's life, try anything by H.C. Robbins Landon. The Maynard Solomon book that is mentioned at the end of Rees' novel is good, but quite overwhelming and analytical for newcomers.
January 19, 2012
I really enjoyed Matt Rees writing style. He uses very clear prose that is reminiscent of Orwell. I also really appreciated his knowledge and use of musical terms that, while adding something for those who understand what he's talking about, doesn't take away from those uninitiated in the study of music.
The story is a great concept. However, it's execution is a bit sloppy. All of the male characters, around whom the plot regarding W. A. Mozart's death revolves, are flat and uninteresting. Even Nannerl, the main character and Mozart's dear sister, is barely fleshed out. All of the men reveal their supposed well-guarded and dangerous secrets at the drop of a hat, or, in this case, the eyelashes of their (supposed) dead friend's sister. The action moves way too fast. It's one thing to expect Sherlock Holmes to suss out everything in less than a week, but the supposedly naive and provincial Nannerl has no problem figuring out the connections between the various players with alarming speed. If she can do it so quickly, why isn't half of Vienna figuring these things out?
The climax in the salon of the Emperor is well done, though, although a bit obvious once it gets moving. This is one point where knowledge of the actual music of Mozart is almost paramount; if you've never seen Don Giovanni, you won't quite get what's going on. However, those who know the story can see the denoument a mile away.
I also found the romance between Nannerl and the Baron van Swieten to be contrived and almost tossed in there for the sake of modern salaciousness, especially the consummation. It reduced Nannerl to a character in a romance novel rather than the heroine she's initially portrayed to be and it's not due the adultery itself but the manner in which it happens. It's actually one of the most unbelievable moments of the book.
Decent beach reading for someone who usually reads books with a Harlequin imprint looking to branch out from the norm, but a sub-par historical mystery story for those who are used to such things.
The story is a great concept. However, it's execution is a bit sloppy. All of the male characters, around whom the plot regarding W. A. Mozart's death revolves, are flat and uninteresting. Even Nannerl, the main character and Mozart's dear sister, is barely fleshed out. All of the men reveal their supposed well-guarded and dangerous secrets at the drop of a hat, or, in this case, the eyelashes of their (supposed) dead friend's sister. The action moves way too fast. It's one thing to expect Sherlock Holmes to suss out everything in less than a week, but the supposedly naive and provincial Nannerl has no problem figuring out the connections between the various players with alarming speed. If she can do it so quickly, why isn't half of Vienna figuring these things out?
The climax in the salon of the Emperor is well done, though, although a bit obvious once it gets moving. This is one point where knowledge of the actual music of Mozart is almost paramount; if you've never seen Don Giovanni, you won't quite get what's going on. However, those who know the story can see the denoument a mile away.
I also found the romance between Nannerl and the Baron van Swieten to be contrived and almost tossed in there for the sake of modern salaciousness, especially the consummation. It reduced Nannerl to a character in a romance novel rather than the heroine she's initially portrayed to be and it's not due the adultery itself but the manner in which it happens. It's actually one of the most unbelievable moments of the book.
Decent beach reading for someone who usually reads books with a Harlequin imprint looking to branch out from the norm, but a sub-par historical mystery story for those who are used to such things.
January 13, 2012
As a singer, and as a Mozart lover, I wanted badly to like this book. I gazed at it a few times before starting in the way you gaze at a particularly luscious chocolate just before eating it. But it failed to deliver. The notion that Mozart did not die of natural causes is not a new one, and should have been a gift to an author. But the spoiler came too early in the book. And the character of Nannerl, Mozart's sister, never felt real to me. In the end it was like that garishly wrapped but ultimately unsatisfying chocolate sweet, the Amadeus. All gloss with not enough heart.
November 14, 2011
A brilliantly written, fast paced novel about the mysterious and untimely death of Mozart. I love the novel's focus on Mozart's overlooked older sister, Nannerl. Her character is beautifully written and thoroughly researched. I am absolutely in love with this book.
February 2, 2019
Although there's a brief frame supposedly narrated by Mozart's youngest son, Franz Xaver, this novel takes the form of a memoir written by Mozart's elder sister, Nannerl.
Having forsaken her own musical ambitions in order to care for her father, Leopold, and having been married off by him to a stuffy Salzburg bureaucrat whom she doesn't love, Nannerl has become estranged these past three years from her wildly talented younger brother, now married and living in Vienna, where the imperial court and the rich potential patrons are. One day she receives a letter from Wolfgang's wife, Constanze, telling her that Wolfgang is dead. Moreover, he believed in his final months that he was being poisoned, so his death may have been murder.
Nannerl travels to Vienna to try to establish what's actually happened. Her investigations eventually uncover a plot -- really, more than one plot -- involving Freemasonry (Mozart was a dedicated Mason), jealousy and imperial politics. Even when she successfully identifies the person responsible for her brother's death, there are further knots of deviousness to unravel.
She also, for the first time in her life, finds herself stirred by passionate love for something other than music. Despite her marriage, despite her religious convictions, she becomes drawn into a relationship with one of the most powerful men in the empire, and even toys with the notion of abandoning her husband and children for him. I found this love story to be a really quite moving counterpoint to the novel's main plot: Nannerl, who tasted the glories of the concert stage before being denied further musical fulfillment by her domineering father, is now given a taste of the other thing he denied her when he arranged her "safe" marriage back in stuffy Salzburg.
Much of the novel is based on historical fact (and there are useful notes at the back to tell us which bits are real and which invented). Mozart really was a Freemason, and his opera The Magic Flute really was intended as a two-and-a-half-hour commercial for the ideals of Freemasonry. There was indeed a crackdown on Freemasonry going on at the time, and there's been longstanding speculation that Mozart's death might have been related to this . . . assuming he actually was poisoned and wasn't simply being paranoid.
I found this a really quite absorbing read in a low-key way. I grew very fond of Nannerl -- she proves to be a most enjoyable companion -- and also of Constanze, a widow facing disaster because her husband's genius didn't extend to finances. Towards the end there's a charade (devised to coax a confession out of one of the guilty parties) that I'm not sure would have convinced anyone, but everything else was pleasingly restrained and plausible.
Which is not what you might be led to believe by one of the review quotes on the cover: "The Da Vinci Code, but this time with Masons and musical manuscripts." Someone at NPR must have been smoking a forbidden substance when they came out with that, because this novel, to its credit, bears no resemblance whatsoever to The Da Vinci Code.
Having forsaken her own musical ambitions in order to care for her father, Leopold, and having been married off by him to a stuffy Salzburg bureaucrat whom she doesn't love, Nannerl has become estranged these past three years from her wildly talented younger brother, now married and living in Vienna, where the imperial court and the rich potential patrons are. One day she receives a letter from Wolfgang's wife, Constanze, telling her that Wolfgang is dead. Moreover, he believed in his final months that he was being poisoned, so his death may have been murder.
Nannerl travels to Vienna to try to establish what's actually happened. Her investigations eventually uncover a plot -- really, more than one plot -- involving Freemasonry (Mozart was a dedicated Mason), jealousy and imperial politics. Even when she successfully identifies the person responsible for her brother's death, there are further knots of deviousness to unravel.
She also, for the first time in her life, finds herself stirred by passionate love for something other than music. Despite her marriage, despite her religious convictions, she becomes drawn into a relationship with one of the most powerful men in the empire, and even toys with the notion of abandoning her husband and children for him. I found this love story to be a really quite moving counterpoint to the novel's main plot: Nannerl, who tasted the glories of the concert stage before being denied further musical fulfillment by her domineering father, is now given a taste of the other thing he denied her when he arranged her "safe" marriage back in stuffy Salzburg.
Much of the novel is based on historical fact (and there are useful notes at the back to tell us which bits are real and which invented). Mozart really was a Freemason, and his opera The Magic Flute really was intended as a two-and-a-half-hour commercial for the ideals of Freemasonry. There was indeed a crackdown on Freemasonry going on at the time, and there's been longstanding speculation that Mozart's death might have been related to this . . . assuming he actually was poisoned and wasn't simply being paranoid.
I found this a really quite absorbing read in a low-key way. I grew very fond of Nannerl -- she proves to be a most enjoyable companion -- and also of Constanze, a widow facing disaster because her husband's genius didn't extend to finances. Towards the end there's a charade (devised to coax a confession out of one of the guilty parties) that I'm not sure would have convinced anyone, but everything else was pleasingly restrained and plausible.
Which is not what you might be led to believe by one of the review quotes on the cover: "The Da Vinci Code, but this time with Masons and musical manuscripts." Someone at NPR must have been smoking a forbidden substance when they came out with that, because this novel, to its credit, bears no resemblance whatsoever to The Da Vinci Code.
February 8, 2024
I had higher expectations for this book and was pretty disappointed. While the historical mystery of Mozart’s death is a fascinating topic, I don’t think this story did justice to the conspiracy.
The characters all felt one dimensional, and it’s pretty apparent the author is a man trying to write from a woman’s perspective. Also the “love” story was so unnecessary and cringy - who abandons all of their core values for a man they’ve known for three days?? And then soooo surprising he betrays her. Such a thin and expendable twist.
The only part that I enjoyed of this book was learning more about Mozart’s music. I just discussed The Magic Flute with one of my classes, and reading about the underlying politics Mozart incorporated was interesting, but otherwise this book was pretty dull.
The characters all felt one dimensional, and it’s pretty apparent the author is a man trying to write from a woman’s perspective. Also the “love” story was so unnecessary and cringy - who abandons all of their core values for a man they’ve known for three days?? And then soooo surprising he betrays her. Such a thin and expendable twist.
The only part that I enjoyed of this book was learning more about Mozart’s music. I just discussed The Magic Flute with one of my classes, and reading about the underlying politics Mozart incorporated was interesting, but otherwise this book was pretty dull.
Read
December 13, 2011With nine years of participating in an award-winning wind ensemble under my belt, I have a huge affinity for Wolfgang Amadeus Mozart and his works. I've visited Salzburg several times, toured the house in which he was born, and have watched the movie Amadeus more times than I probably should admit. When offered the chance to review a novel about Mozart's mysterious demise, there was no hesitation on my part; I felt I was meant to read this book. I mention this because my knowledge of and feelings for the maestro definitely influenced my thoughts on the book in a way that most readers probably will not experience. Consider this a disclaimer of sorts.
Mozart's Last Aria in an intriguing but bland conspiracy theory about Mozart's true cause of death. Told after Mozart's death from his sister's point of view, the reader is led on a goose chase around Vienna as Nannerl attempts to uncover the truth behind certain riddles and mysterious comments her brother made during his last few months on Earth. Unfortunately, its focus on Mozart's Masonic membership made this more reminiscent of current conspiracy theory novels a la Dan Brown. Therein lies the problem.
Mozart's Last Aria hopes to capitalize on Mozart's undeniable genius and the fact that his untimely death prevented even more of his amazing work from being composed and shared with the world. In fact, this exact sentiment is mentioned on almost every page, as one character after another laments on the world's loss after his death. The reader is reminded of this loss incessantly to the point where it becomes slightly nauseating and increasingly numbing. While this loss is meant to increase the reader's sense of urgency to uncover the truth, its constant repetition undermines the suspense.
One cannot read Mozart's Last Aria without noting distinct comparisons to other modern popular suspense novels. It has the Freemasons and "dangerous", life-changing secrets that could change Austria forever, while the reader is left to understand that Mozart was at the heart of this dangerous secret. Unfortunately, the only clue to Mozart's supposedly passionate support of this secret is his music. Mr. Rees attempts to use Mozart's music alone, and not his behavior or own words, to support his theory. It is a weak connection at best, especially because Mozart was a prolific writer, as was his entire family. If he truly supported such sentiments, one would expect more proof in the form of actions or his written words. Music, which is highly subjective, as the only clue is not enough to provide conclusive evidence of Mozart's involvement in these secrets, making this entire storyline very weak.
Mozart's Last Aria is one that definitely must be read with full access to all of his works on hand, as Nannerl goes into great depth of each piece mentioned. Without a deep understanding of music, a reader will easily get bogged down into these very technical passages. Added to that, the flimsy proof behind the big secret and the fact that no one but Nannerl is able to uncover the mystery leaves a reader feeling deeply incredulous over the entire premise. While it does offer a relatively brief alternative to the more depressing Mozart biographies, there is much that is lacking that prevents a reader from being able to become truly immersed in the story. An inability to do this makes this one suspense novel that lacks in suspense.
Mozart's Last Aria in an intriguing but bland conspiracy theory about Mozart's true cause of death. Told after Mozart's death from his sister's point of view, the reader is led on a goose chase around Vienna as Nannerl attempts to uncover the truth behind certain riddles and mysterious comments her brother made during his last few months on Earth. Unfortunately, its focus on Mozart's Masonic membership made this more reminiscent of current conspiracy theory novels a la Dan Brown. Therein lies the problem.
Mozart's Last Aria hopes to capitalize on Mozart's undeniable genius and the fact that his untimely death prevented even more of his amazing work from being composed and shared with the world. In fact, this exact sentiment is mentioned on almost every page, as one character after another laments on the world's loss after his death. The reader is reminded of this loss incessantly to the point where it becomes slightly nauseating and increasingly numbing. While this loss is meant to increase the reader's sense of urgency to uncover the truth, its constant repetition undermines the suspense.
One cannot read Mozart's Last Aria without noting distinct comparisons to other modern popular suspense novels. It has the Freemasons and "dangerous", life-changing secrets that could change Austria forever, while the reader is left to understand that Mozart was at the heart of this dangerous secret. Unfortunately, the only clue to Mozart's supposedly passionate support of this secret is his music. Mr. Rees attempts to use Mozart's music alone, and not his behavior or own words, to support his theory. It is a weak connection at best, especially because Mozart was a prolific writer, as was his entire family. If he truly supported such sentiments, one would expect more proof in the form of actions or his written words. Music, which is highly subjective, as the only clue is not enough to provide conclusive evidence of Mozart's involvement in these secrets, making this entire storyline very weak.
Mozart's Last Aria is one that definitely must be read with full access to all of his works on hand, as Nannerl goes into great depth of each piece mentioned. Without a deep understanding of music, a reader will easily get bogged down into these very technical passages. Added to that, the flimsy proof behind the big secret and the fact that no one but Nannerl is able to uncover the mystery leaves a reader feeling deeply incredulous over the entire premise. While it does offer a relatively brief alternative to the more depressing Mozart biographies, there is much that is lacking that prevents a reader from being able to become truly immersed in the story. An inability to do this makes this one suspense novel that lacks in suspense.
December 8, 2011
First thoughts after I finished: "I want to read more about Nannerl!"
I love books that make me feel as if I have a front row seat to the story and this one delivered in that aspect in every way. I love historical fiction, especially when the author finds such an interesting and real life person such as Nannerl. I hate to admit the fact that I didn't even realize that Mozart had a sister! My heart hurt for her knowing how much she sacrificed over the years. Her father forced her to put her own love and talent for music on the back burner. Instead, Mozart took front and center while she took care of their father until his death. I loved her spirit and how she really became immersed into trying to find out the truth about her brother's death.
Recommend? Nothing intrigues me more than true facts blended with fiction. I was totally immersed into this story and didn't want it to end. You should all know by now that I make a habit of reading "About the book or Afterwards" before diving into the story. I'm always glad that I do because it has really added to my enjoyment of the story. I did what the author suggested and listened to specially selected music. I think it really helped to put me into the mood and captured the time period perfectly. I highly recommend this book to lovers of music, intrigue, mystery and beautifully written historical fiction!
I love books that make me feel as if I have a front row seat to the story and this one delivered in that aspect in every way. I love historical fiction, especially when the author finds such an interesting and real life person such as Nannerl. I hate to admit the fact that I didn't even realize that Mozart had a sister! My heart hurt for her knowing how much she sacrificed over the years. Her father forced her to put her own love and talent for music on the back burner. Instead, Mozart took front and center while she took care of their father until his death. I loved her spirit and how she really became immersed into trying to find out the truth about her brother's death.
Recommend? Nothing intrigues me more than true facts blended with fiction. I was totally immersed into this story and didn't want it to end. You should all know by now that I make a habit of reading "About the book or Afterwards" before diving into the story. I'm always glad that I do because it has really added to my enjoyment of the story. I did what the author suggested and listened to specially selected music. I think it really helped to put me into the mood and captured the time period perfectly. I highly recommend this book to lovers of music, intrigue, mystery and beautifully written historical fiction!
November 14, 2011
Mozart's Last Aria by Matt Rees is a combination historical fiction/mystery novel. This is not your run-of-the-mill pot-boiler, though. It's much more complex --and even rather magical.
Readers will be surprised to see a different Mozart when seen through the letter his sister, Maria Anna (affectionately known as Nannerl), writes so that the truth might be known about her brother's death.
The story opens when Nannerl is dying. Mozart's son, Leopold, soon reads the letter he finds that Nannerl wrote. In the letter is another letter that Nannerl received from Constanze, Mozart's wife, when Mozart died in 1791. Constanze tells Nannerl that Mozart told her he was poisoned, even though the doctors claim otherwise.
Nannerl decides that she must go to Vienna to investigate. The rest of the story is Nannerl explaining what happened and what she uncovered. The reader will learn about Mozart's estrangement from his once much-loved sister because Mozart fled from their father's controlling nature.
Read the whole review at: http://www.examiner.com/book-in-natio...
Readers will be surprised to see a different Mozart when seen through the letter his sister, Maria Anna (affectionately known as Nannerl), writes so that the truth might be known about her brother's death.
The story opens when Nannerl is dying. Mozart's son, Leopold, soon reads the letter he finds that Nannerl wrote. In the letter is another letter that Nannerl received from Constanze, Mozart's wife, when Mozart died in 1791. Constanze tells Nannerl that Mozart told her he was poisoned, even though the doctors claim otherwise.
Nannerl decides that she must go to Vienna to investigate. The rest of the story is Nannerl explaining what happened and what she uncovered. The reader will learn about Mozart's estrangement from his once much-loved sister because Mozart fled from their father's controlling nature.
Read the whole review at: http://www.examiner.com/book-in-natio...
August 13, 2011
Wolfgang Amadeus Mozart passes away. His sister, miles away and estranged from him, receives a diary of his that leads her to believe he was poisoned. She travels miles to his home and becomes embroiled in startling political intrigue involving the Knights of Templar, forbidden romance, and her own quest for forgiveness for not reconciling with her brother before his death. It was a good read, however, the lead character seems disconnected from the plot throughout the book. It's very hard to buy into the plot when you feel the main character is more distracted by her forbidden romance than by the quest to find out whether her brother was murdered or died of natural causes. Equally frustrating about this title is the fact that Mozart's strength of character is lost under a literary cloud, it was hard for me, a history major, to come back from that feeling. All in all, not a bad read, just not a nail-biter by any means.
January 2, 2012
Ugh. Incredibly disappointed, sad that I read the whole thing. The characters were unbelievable and not well developed, the historical setting seemed overdone, and worst of all the mystery was just poorly executed.
Want to read
November 6, 2011I think I just want to read it because of the awesome dress on the front cover! No, I'm not shallow.
September 1, 2020
I wanted to like this book so much more than I did...I have always loved Mozart - his music and his story, so I was so excited to dive into this mystery about his death. I love Vienna, and going back there via a book was really fun, and I also really enjoyed all of the descriptions of Mozart's music. But, the plot wasn't super compelling to me. I was excited for a murder mystery full of twists and turns but I just didn't really feel like that was what I got. There was a lot of filler and not a lot of intrigue.
April 13, 2017
I struggle a bit rating this as I sometimes do. The story started out really promising and I enjoyed the characters and the investigation. Then, with 50 pages to go, we suddenly start wrapping everything up and it just felt really rushed and incomplete. All of that story development and work done to just wrap it up and leave the reader feeling slightly cheated.
Too bad. Great cover though.
Too bad. Great cover though.
July 12, 2017
This book had a lot of cover appeal for me. When I read the description, I thought "What's not to like: strong female character, the era of Mozart, a mystery regarding his mysterious death......" But unfortunately, this book just didn't grab me. I had to force myself to finish it. I'm left questioning myself now, why did I have such a hard time with it? Was I just not in the mood? I'm really not sure. I do know that I never really got invested into the characters. In fact, I had a difficult time telling some of them apart. I'm going to chalk it up to the fact that I'm reading several other titles right now that I'm enjoying more than this one. On the positive side, I DID enjoy listening to Mozart while reading this. And now I plan to re-watch the movie Amadeus.
April 1, 2013
Review Posted on Reading Lark 12/7/11: http://readinglark.blogspot.com/2011/...
I have to admit that I agreed to review this book because of the cover. This is one that I want to frame and put on my wall. Sure, the plot sounded interesting as well, but I have never been a big classical music fan. However, between the cover and the lure of a murder mystery I could resist opening these pages.
Mozart's Last Aria tells the story of Mozart's death, his musical career, family drama, and his connections to the Masons. I have long been fascinated with the history of the Masons and their appearance in fiction and nonfiction texts. The author's note at the end of the novel reveals that the plot was inspired by real events in Mozart's life and that he did have a connection to the Masons. I never knew much about the composer so reading this book was quite educational and caused me to want to know more about the man.
I also really liked the "whodunit" aspect of this read. Mozart's sister, Nannerl, arrives in Vienna to find that her brother's death is somewhat suspicious. Mozart confided in his wife and friends that he believed he had been poisoned shortly before his death. She soon finds that his death may be connected to the Masons; Nannerl starts to piece together the last few months of her brothers life to try to track down his killer. She refuses to believe that the great Mozart left the Earth via natural causes. The fact that nobody knows for sure what caused Mozart's death adds a bit of magic to this book - his demise in this book could very well be what actually happened.
Another really interesting aspect of the book is the way in which it unfolds. The beginning shows Nannerl on her deathbed as she hands over her diary to her nephew, Wolfgang, the youngest son of the famous composer. Within its pages, lurk family secrets that will show the young Wolfgang what really happened to his father.
Matt Rees has created a solid piece of historical fiction that showcases his attention to research and a love of music. You can't help but feel the amount of time and devotion that went into crafting this novel. Rees writes in beautiful, sweeping prose and transports the reader to Vienna's streets in 1791. I learned so much and enjoyed the story as well. I highly recommend this book to fans of historical fiction, mysteries, and classical music.
I have to admit that I agreed to review this book because of the cover. This is one that I want to frame and put on my wall. Sure, the plot sounded interesting as well, but I have never been a big classical music fan. However, between the cover and the lure of a murder mystery I could resist opening these pages.
Mozart's Last Aria tells the story of Mozart's death, his musical career, family drama, and his connections to the Masons. I have long been fascinated with the history of the Masons and their appearance in fiction and nonfiction texts. The author's note at the end of the novel reveals that the plot was inspired by real events in Mozart's life and that he did have a connection to the Masons. I never knew much about the composer so reading this book was quite educational and caused me to want to know more about the man.
I also really liked the "whodunit" aspect of this read. Mozart's sister, Nannerl, arrives in Vienna to find that her brother's death is somewhat suspicious. Mozart confided in his wife and friends that he believed he had been poisoned shortly before his death. She soon finds that his death may be connected to the Masons; Nannerl starts to piece together the last few months of her brothers life to try to track down his killer. She refuses to believe that the great Mozart left the Earth via natural causes. The fact that nobody knows for sure what caused Mozart's death adds a bit of magic to this book - his demise in this book could very well be what actually happened.
Another really interesting aspect of the book is the way in which it unfolds. The beginning shows Nannerl on her deathbed as she hands over her diary to her nephew, Wolfgang, the youngest son of the famous composer. Within its pages, lurk family secrets that will show the young Wolfgang what really happened to his father.
Matt Rees has created a solid piece of historical fiction that showcases his attention to research and a love of music. You can't help but feel the amount of time and devotion that went into crafting this novel. Rees writes in beautiful, sweeping prose and transports the reader to Vienna's streets in 1791. I learned so much and enjoyed the story as well. I highly recommend this book to fans of historical fiction, mysteries, and classical music.
February 25, 2015
Enchanting reader via audiobook!
I'm not sure that I would have enjoyed this novel as much if I had read the written version. The content was repetitive and dull at times; but as I always say - a great reader can enhance any mediocre book & IMHO that is the case here.
The reader of the audiobook version was entirely, well, interesting - is the best way I can think to put it. Weirdest voice I've ever heard bordering on uni-gendered (not sure if that's a true word but you know my meaning...boy or a girl voice???). I don't have the hard copy, I got this as a download, so I don't have information in front of me as to the reader's name or background. But if I were to guess, this guy has been active in theatre. He is extremely dramatic and knew well the content of the book/ the ideas he was portraying of each character. BRAVO! to his excellent performance. I will dig up his name and post it asap. As I've said a million times before - I am extremely awed by these wonderful readers & I don't believe that they get the attention or appreciation they are due. I only hope that authors understand the weight of their decision when assigning an audiobook reader...it can make ALL the difference!
I do really love how the novel begins with the presentation of a diary, given in secret to Mozart's son by his elderly Aunt on her deathbed. In it is the "secret" story of her undertaking the "case" of Mozart's death. I'm not certain as to how accurate the history is here, I'm thinking it's very much fictional, though - I do believe it was thought that Mozart was, in fact, poisoned rather than dying by natural causes but as to her setting about to prove that, I don't know. I'm thinking that their childhood and adult relationship may have been portrayed correctly, but this I would like to look into further as I would tend to not trust what was written here - seems very much a fictional story. I could be wrong there too, I've only recently become interested in history & as there is a WORLD of study I had not gotten to the subject or era of Mozart as yet. :o) Something more to dive into...
I would recommend the book definitely - if read by audiobook and possibly if you're a classical music buff or Mozart fan in particular - if reading the hard copy.
Three stars to the actual written book and and one additional star for the reader!
I'm not sure that I would have enjoyed this novel as much if I had read the written version. The content was repetitive and dull at times; but as I always say - a great reader can enhance any mediocre book & IMHO that is the case here.
The reader of the audiobook version was entirely, well, interesting - is the best way I can think to put it. Weirdest voice I've ever heard bordering on uni-gendered (not sure if that's a true word but you know my meaning...boy or a girl voice???). I don't have the hard copy, I got this as a download, so I don't have information in front of me as to the reader's name or background. But if I were to guess, this guy has been active in theatre. He is extremely dramatic and knew well the content of the book/ the ideas he was portraying of each character. BRAVO! to his excellent performance. I will dig up his name and post it asap. As I've said a million times before - I am extremely awed by these wonderful readers & I don't believe that they get the attention or appreciation they are due. I only hope that authors understand the weight of their decision when assigning an audiobook reader...it can make ALL the difference!
I do really love how the novel begins with the presentation of a diary, given in secret to Mozart's son by his elderly Aunt on her deathbed. In it is the "secret" story of her undertaking the "case" of Mozart's death. I'm not certain as to how accurate the history is here, I'm thinking it's very much fictional, though - I do believe it was thought that Mozart was, in fact, poisoned rather than dying by natural causes but as to her setting about to prove that, I don't know. I'm thinking that their childhood and adult relationship may have been portrayed correctly, but this I would like to look into further as I would tend to not trust what was written here - seems very much a fictional story. I could be wrong there too, I've only recently become interested in history & as there is a WORLD of study I had not gotten to the subject or era of Mozart as yet. :o) Something more to dive into...
I would recommend the book definitely - if read by audiobook and possibly if you're a classical music buff or Mozart fan in particular - if reading the hard copy.
Three stars to the actual written book and and one additional star for the reader!
November 7, 2011
In October 1791 Wolfgang Amadeus Mozart, the greatest musical genius the world has ever seen, told his wife he had been poisoned. Six weeks later, at the age of thirty-five, he was dead.
In the latest novel by Matt Rees, Mozart's Last Aria is comprised of musical literature intertwined with the news that Mozart's sister, Nannerl hears about his death. Her entire world as she has known it collaspes with the news of her brother's death and she resolves to find out what happened to him. Her only clue lies with a letter from Mozart's wife Constanze, that informs her that despite what rumors exist about his death and unfaithfulness, he died a most true and devoted husband and father, while also confessing to his wife that he knew he would not last much longer because he was sure he had been poisoned.
So begins the search for truth about the true nature of her brother's death, Nannerl discovers her brother left behind a hand written page about creating a new Masonic body that he wanted to set up a lodge named the Grotto but the remainder of the page is left incomplete. As Nannerl questions some of his closest confidants, they refuse to answer her and warn her that they don't wish to end up like her brother. Nannerl soon finds herself ensnared in a web of suspicion and intrigue - as the actions of jealous lovers, sinister creditors, rival composers and Mozart's Masonic brothers suggest that dark secrets hastened the genius to his grave. As she digs deeper into the mystery surrounding his passing, Mozart's black fate threatens to overtake her as well.
Transporting readers to the salons and concert halls of eighteenth-century Austria, Mozart's Last Aria is a magnificent historical mystery that pulls back the curtain on a world of soaring music, burning passion, and powerful secrets. I received this novel compliments of TLC Book Tours for my honest opinion and really enjoyed the premise behind this novel. I rate this one a 4 out of 5 stars and one I highly recommend for those that love classical music with a twist of mystery
In the latest novel by Matt Rees, Mozart's Last Aria is comprised of musical literature intertwined with the news that Mozart's sister, Nannerl hears about his death. Her entire world as she has known it collaspes with the news of her brother's death and she resolves to find out what happened to him. Her only clue lies with a letter from Mozart's wife Constanze, that informs her that despite what rumors exist about his death and unfaithfulness, he died a most true and devoted husband and father, while also confessing to his wife that he knew he would not last much longer because he was sure he had been poisoned.
So begins the search for truth about the true nature of her brother's death, Nannerl discovers her brother left behind a hand written page about creating a new Masonic body that he wanted to set up a lodge named the Grotto but the remainder of the page is left incomplete. As Nannerl questions some of his closest confidants, they refuse to answer her and warn her that they don't wish to end up like her brother. Nannerl soon finds herself ensnared in a web of suspicion and intrigue - as the actions of jealous lovers, sinister creditors, rival composers and Mozart's Masonic brothers suggest that dark secrets hastened the genius to his grave. As she digs deeper into the mystery surrounding his passing, Mozart's black fate threatens to overtake her as well.
Transporting readers to the salons and concert halls of eighteenth-century Austria, Mozart's Last Aria is a magnificent historical mystery that pulls back the curtain on a world of soaring music, burning passion, and powerful secrets. I received this novel compliments of TLC Book Tours for my honest opinion and really enjoyed the premise behind this novel. I rate this one a 4 out of 5 stars and one I highly recommend for those that love classical music with a twist of mystery
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