Three Weeks in Vienna

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When Ludwig van Beethoven chose singers for the first performance of his last symphony he did so for reasons other than their voices; he could not hear them. Karoline Unger, the alto soloist, is an ardent admirer of the great composer, despite his ferocious temper and lack of social graces. She begs for the opportunity to be part of the premiere. Relying on her reputation as a singer and being fond of the company of an attractive young woman, he consents. The logistics of the performance are nearly impossible. Beethoven wants an extraordinarily large number of musicians on stage. Sections from a recently written Mass are also on the program, which causes problems with the Catholic Church. Beethoven wants to direct the concert but, being unable to hear the music, it is impossible for the orchestra and chorus to follow him. The music itself is extremely difficult; the musicians all complain and some even abandon the effort. Beethoven himself has not performed for the Viennese in a dozen years and has serious doubts about their reaction to his music. Is he still their beloved adopted son? Through all of these trials and tribulations, Karoline stuggles to remain loyal to Beethoven and the lofty ideals he intended to illustrate with his final symphony. Her abilities as a musician come into question and attempts at sabotage are made against her. This is a story of love's triumph over adversity. It is Karoline's story.