---
title: "Amadeus"
year: 2025
kind: "series"
canonical: "https://film.one/tv/amadeus-2025"
fi1m_id: "amadeus-2025"
imdb_id: "tt32061880"
tmdb_id: 246864
wikidata_id: "Q125894924"
fi1m_score: 70
critics_score: 66
critics_reviews: 6
published: "2026-09-11"
updated: "2026-09-15T21:38:44.936611+00:00"
region: "DK"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Amadeus (2025)

Created by Joe Barton · Drama

## Identity

Amadeus

- **Canonical:** https://film.one/tv/amadeus-2025
- **Type:** Series
- **Fi1m ID:** amadeus-2025
- **IMDb ID:** tt32061880
- **TMDB ID:** 246864
- **Wikidata ID:** Q125894924
- **Same entity:** https://www.imdb.com/title/tt32061880/, https://www.themoviedb.org/tv/246864, https://www.wikidata.org/wiki/Q125894924

**Fi1m score: 70** · Critics 66 from 6 reviews

*In a sentence:* Paul Bettany makes Mozart’s talent seem a terrible thing to inflict on a colleague

> *Amadeus* is worth watching for Paul Bettany and Gabrielle Creevy, who make artistic jealousy and its consequences hurt. Five episodes give them room, but also leave the central rivalry repeating itself when the music should take over.

## Synopsis

Wolfgang Amadeus Mozart (Will Sharpe) and Antonio Salieri (Paul Bettany) are composers caught in a rivalry that reaches into their beliefs and personal relationships. Salieri recognises Mozart’s musical gift and struggles with what it means for his own ambitions and faith. Mozart faces pressures of his own, while Constanze Weber (Gabrielle Creevy) has to reckon with the personal costs of life alongside him. Across five episodes, admiration turns to resentment as the two men contend with talent, status and each other. Jonathan Aris plays Leopold Mozart, and Rory Kinnear appears as Emperor Joseph.

## Review

[*Amadeus*](https://film.one/film/amadeus) finds its strongest subject in Salieri: a composer who can hear precisely how far another man’s abilities exceed his own. That is a cruel predicament, and this five-part series is worth watching for Paul Bettany’s handling of it, with Gabrielle Creevy making Constanze worth following in her own right. Directors Alice Seabright and Julian Farino allow the performers plenty of space. Across five episodes, however, the exchanges between the composers begin to repeat themselves.

Bettany makes Salieri’s admiration as important as his resentment. His distress is convincing because he understands what he is hearing; the music gives him another reason to question the value of his own work and his belief in God. We found his torment unexpectedly upsetting, particularly the shame that accompanies his recognition of Mozart’s gift. Bettany keeps that shame present in the tense exchanges with Mozart, so there is something painful happening even when the men are simply discussing their work.

Will Sharpe’s Mozart is an effective partner for this, though the series is less persuasive about what makes him exceptional. Sharpe gives him emotional complications and an abrasive presence that prevent the part becoming merely a display of charm. The confrontations have energy, and neither actor seems to be waiting politely for his next speech. Yet when the programme asks us to believe in Mozart’s genius, it too often relies on the strength of Salieri’s reaction.

Creevy benefits most from the longer telling. Constanze has enough of a life here for the consequences of the men’s behaviour to matter beyond their quarrel, and Creevy makes that additional attention feel necessary. Her performance gives the series someone worth following even when the rivalry has begun to wear thin. The expanded attention to Constanze brings personal suffering into a story that can otherwise become absorbed in professional complaints.

Morgan Kennedy’s production design gives the series a richness that suits its theatrical manner, though the lavish surroundings sometimes distract from the conflict. Seabright and Farino are more successful when the performances command attention without competing with that display. The music is a greater frustration: Bryce Dessner’s contribution belongs to a programme that gives too little time to listening. Mozart’s work needs room to affect us before another conversation tells us how much it matters.

The comparison with the 1984 film is unavoidable, and five episodes give this version more time than it always knows how to use. Once Salieri’s jealousy is established, further exchanges can confirm what the actors have already made clear. Constanze’s fuller story is the strongest reason for taking the longer route, and the performances keep it worth following. For anyone drawn to dramas about artistic ambition, this is a good, uneven addition. If the music is your chief reason for watching, expect to spend a fair amount of time waiting for the conversation to stop.

*Fi1m score 70, published 11 September 2026.*

## What the critics say

Most critics find Amadeus a worthwhile reworking of the familiar rivalry, though the spread runs from enthusiastic praise to outright dismissal. Praise centres on the performances, particularly Paul Bettany’s tormented Salieri, and on the extra space given to relationships, personal tragedy and Gabrielle Creevy’s Constanze. Supporters find substance in its treatment of jealousy, faith and the burden of genius, rather than simply another retelling.

Reservations concern whether the longer format earns its length and whether theatrical spectacle comes at the expense of depth. Variety admires Bettany and the production design but finds that five episodes dilute the tension, with too little use of the music. The Guardian is the sharpest dissenter, finding the scenes lifeless and Will Sharpe’s Mozart thin; Digital Spy, by contrast, praises his emotional complexity. The central divide is over whether expansion deepens the story or makes its rivalry less compelling.

## Straight answers

**Is Amadeus worth watching?**

*Amadeus* is worth watching for Paul Bettany's Salieri and Gabrielle Creevy's Constanze, who make artistic jealousy and its costs hurt, and we scored it 70. Across five episodes the rivalry begins to repeat itself, and the music is given too little room. It suits anyone drawn to dramas about ambition more than anyone coming for Mozart.

**Where can I watch Amadeus in Denmark?**

*Amadeus* is streaming on SkyShowtime, Amazon Prime Video and Apple TV in Denmark, and it is also available to buy from Amazon Prime Video. Availability is checked daily; the links above go straight to each service.

**How does Amadeus compare to Topsy-Turvy?**

*Amadeus* is a five-part drama about one composer's torment at another's gift, where [*Topsy-Turvy*](https://film.one/film/topsy-turvy) is a film about the rehearsal-room labour and petty grievances behind staging an opera. Mike Leigh's film is the more even of the two, and warmer. Choose *Amadeus* for Paul Bettany's jealousy played at length; choose *Topsy-Turvy* if you want to watch the music being made.

**What should I watch after Amadeus?**

After *Amadeus*, try [*Topsy-Turvy*](https://film.one/film/topsy-turvy) (1999, Fi1m 88): For the rehearsal-room labour and petty grievances behind an evening of music. Then [*Shine*](https://film.one/film/shine) (1996, Fi1m 82): For a pianist whose gifts do little to protect him from pressure.

### Reviews we read (9)

- **Vulture** (85/100, inferred): The critic calls the miniseries captivating and anachronistic, praising how it reconfigures the rivalry to explore deeper themes of genius as an existential burden, inferiority, and power dynamics. It singles out Bettany’s incredible, tormented Salieri as shaping the series’ rumination on ambition and faith. [Read](https://www.vulture.com/article/amadeus-review-paul-bettany-will-sharpe-starz-miniseries.html)
- **Radio Times**, James Hibbs (80/100, inferred): The series succeeds as a companion piece to the classic film by expanding on characters and adding depth to relationships and personal tragedies, particularly Constanze's story. It features strong performances from the leads and offers a gritty, complex take that justifies its existence despite the formidable legacy of the source material. [Read](https://www.radiotimes.com/tv/drama/amadeus-sky-comment/)
- **The AV Club**, Caroline Siede (B): The critic finds Barton’s adaptation frequently compelling and occasionally riveting, though never quite essential viewing. It singles out the strong performances, especially Gabrielle Creevy’s Constanze, and the grounded, earthier take on the rivalry with added historical realism and stakes. [Read](https://www.avclub.com/amadeus-review-will-sharpe-paul-bettany-joe-barton)
- **The Guardian** (20/100, inferred): The series is a pale, petty version of the 1984 film, with flat, airless and banal scenes that reduce the original's themes of envy and genius to lesser forms. The performances, especially Will Sharpe's thin take on Mozart, fail to match the source material's wit and depth. [Read](https://www.theguardian.com/tv-and-radio/2025/dec/21/amadeus-review-mozart-series-pale-petty-version-of-movie)
- **The Hollywood Reporter**, Angie Han: The adaptation understands the maddening failure to capture true genius and delivers a thrilling exploration of jealousy and rivalry through strong performances, especially Bettany's Salieri. It makes the familiar story feel complete in its own right while highlighting the limits of sublime art in everyday life. [Read](https://www.hollywoodreporter.com/tv/tv-reviews/amadeus-review-paul-bettany-will-sharpe-starz-1236580131/)
- **The Times**, Carol Midgley (★★★★☆): The reimagining is vivacious and vicious, chronicling Salieri’s jealousy with superbly charismatic performances from Will Sharpe and Paul Bettany that make it a Christmas treat. [Read](https://www.thetimes.com/culture/tv-radio/article/amadeus-review-will-sharpe-paul-bettany-sky-srf2j5v8d)
- **Variety**, Aramide Tinubu: Bettany gives a sensational performance and the series looks gorgeous with lavish production design, but stretching the story into five episodes dilutes tension and makes the rivalry feel tiresome and superficial compared to the tighter original. The music is underused and the show struggles to measure up to the classic. [Read](https://variety.com/2026/tv/reviews/amadeus-review-starz-paul-bettany-1236741072/)
- **Digital Spy**, David Opie (70/100, inferred): The critic finds it an intriguing, sometimes very special show that falls just shy of greatness, especially compared to the film. It singles out Will Sharpe’s standout, emotionally complex performance as Mozart and the exquisite writing in the tense exchanges between the leads. [Read](https://www.digitalspy.com/tv/a69660488/amadeus-review-sky/)
- **Collider**, Maggie Lovitt (65/100, inferred): The critic finds the series visually sumptuous and entertaining thanks to its bold, theatrical style, strong central performances by Will Sharpe and Paul Bettany, and lavish production design. However, it is critiqued for prioritizing spectacle over depth, resulting in a somewhat shallow character study that lacks emotional or historical nuance. [Read](https://collider.com/amadeus-tv-show-review-starz-will-sharpe-paul-bettany/)

## Details

- **Created by:** Joe Barton
- **Creator:** Joe Barton
- **Director:** Julian Farino, Alice Seabright
- **Music:** Bryce Dessner
- **Production design:** Morgan Kennedy
- **Producer:** Adam Goodman, John Griffin, Howard Ellis
- **Cast:** Will Sharpe as Wolfgang Amadeus Mozart; Paul Bettany as Antonio Salieri; Olivia-Mai Barrett as Sophie; Gabrielle Creevy as Constanze Weber; Krisztián Cser as Figaro / Leporello; Orsolya Heletya as Contessa / Papagena; Jonathan Aris as Leopold Mozart; Jessica Alexander as Katarina
- **Release (Denmark):** 21 December 2025
- **Genres:** Drama
- **Trailer:** https://www.youtube.com/watch?v=BO8H56WFOvI

## Where to watch in Denmark

- SkyShowtime: streaming, uhd
- Amazon Prime Video: add-on
- Apple TV: add-on, hd
- Amazon Prime Video: buy, hd

*Checked 2026-09-11.*

Also available in: AT, AU, BG, CA, CZ, DE, DK, ES, FI, HK, HR, HU, ID, MY, NL, NO, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Topsy-Turvy* (1999), Fi1m 88: For the rehearsal-room labour and petty grievances behind an evening of music. — [Fi1m page](https://film.one/film/topsy-turvy.md)
- *The Disciple* (2020): Another musician measures himself against greatness, and finds devotion insufficient.
- *Tous les matins du monde* (1991): For music, grief and the strain of learning from a difficult master.
- *The Duellists* (1977): For a rivalry that outlives every sensible reason to keep it going.
- *Shine* (1996), Fi1m 82: For a pianist whose gifts do little to protect him from pressure. — [Fi1m page](https://film.one/film/shine.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/amadeus-2025