No matter if this question makes any sense to you or not, this is one of the main hit songs of Hamburg's new Musical "Mozart" by Sylvester Levay and Michael Kunze. It expresses two things: The message of the musical itself and the feelings and problems of the leading character Wolfgang Mozart, who sings this song. And yet, it also expresses the problem of this musical. Strange as it sounds, the show itself has to escape from the shadow of Kunzes & Levay's previous show, the sensational "Elisabeth". Thinking of Elisabeth means thinking of a phenomenal show with huge sets, lighting and visual effects, along with the wonderful music, of course. So, in connection with Mozart you might expect something similar and if so, you might be disappointed. You won't see a "spectacular" show on the stage of Hamburg's "Neue Flora" - there are no breathtaking special effects or anything like that.

BUT YOU WILL SURELY ENJOY IT when you see "Mozart - The Musical" in the way it must be seen. It's a very intense, fine piece of theatre with some hot rock music and some wonderful quiet melodies. It tells you the story of some very complex characters so you just concentrate on the people on stage and not the sets behind them. It's real "Musical theatre" not a "Musical Show" and if you see it with that in mind, it's just as impressive as an Austrain Empress or a Phantom or a Lion King.

The score by Sylvester Levay contains many higlights. There are several great stand-along songs like Constanze's "Irgendwo wird immer getanzt", Colloredo's "Wie kann es möglich sein", the showstopper "Gold von den Sternen" and of course many of Wolfgang's solo numbers like "Warum kannst Du mich nicht lieben" "Was für ein grausames Leben", as well as the already mentioned "Wie wird man seinen Schatten los".

The ensemble numbers are great, with choreography by Dennis Callahan (here you will finially see similarities to Elisabeth and Tanz der Vampire). Unfourtuatley it seems a little bit cold on the huge stage of the "Neue Flora".

The actors are very impressive. I'd like to mention (besides Ethan) the great performances of Maricel as Constanze and of course the star from Norway, Yngve Romdal, with his iron man act in the leading role.

Ethan can be seen in the role of Leopold Mozart. Employed at Colloredo's church, he is the father of Nannerl and the genius Wolfgang. In this complex character, Ethan impresses mainly as a very fine and intensive actor. He has a wonderful sense for Leopold's emotions, so the man Leopold comes alive on stage. He convinced me as loving father as well as as strict and proud keeper of the genius within his son and most of all he impresses at the end of the show (and of Leopold's life) as a broken old man, bitterly seeing that his dreams are destroyed by a son he can't love anymore. Ethan plays a real man here, not a beast, a phantom or any other monster role. I adored his acting that brought Leopold alive on stage. A big compliment to the make up guys as well. It was hard to recognize Ethan as an old man. Of course he also sung the part wonderfully. The score of Leopold is big, but most of the times very, very soft and fine. His solo ballad "Schließ Dein Herz in Eisen ein" was, thanks to his excellent emotional interpretation, one of the show's highlights. He also impresses with his phenomenal vocal power in "Niemand liebt Dich so wie ich" His voice can express all the feelings and how Leopold is innerly torn apart. A new duet for Leopld is a nice song called "Gibt es Musik die nie vergeht" along with Martha Helmin in the role of Nannerl.

The way that Ethan interprets that role makes seeing the show worthwhile on its own. So, get the shadow in your head out and concentrate on the guys onstage. It's a theatrical event you won't quickly forget. Ethans fans will enjoy it. It's a role so different from any other role he has ever played and so it's something very special and very nice to see him sing and act this touching and impressive role.