The history of the Mozart Renaissance in our century took place more in the sign of festivals dedicated to Amadeus than in the great opera houses. The reasons are milti and not all simple to explain; probably the Festivals, characterized by more 'experimental' productions, have allowed to explore more deeply masterpieces that, in the context of the metropolitan opera seasons, were proposed in the sign of the routine, where on everything tends to spread the pernicious veil of dust of the so-called 'tradition'.