The Sound of Music, a beloved classic, has captivated audiences for generations with its heartwarming portrayal of the von Trapp family. The hills are alive with the sound of music, indeed, but how much of the movie’s charm is rooted in reality? While the film paints a picturesque image of the Von Trapp Family Sound Of Music, the true story is richer, more complex, and just as compelling. As an exploration into history and popular culture, let’s delve into the real narrative of the von Trapp family, separating fact from fiction and uncovering the fascinating lives behind the cinematic legend.
Fact vs. Fiction: Decoding The Sound of Music Narrative
The Sound of Music, while inspired by Maria von Trapp’s memoir, The Story of the Trapp Family Singers, takes significant liberties with the actual events. Understanding these deviations is key to appreciating the real von Trapp family sound of music journey. Many viewers are surprised to learn that the movie presents a somewhat romanticized and simplified version of their lives.
One of the most significant alterations is the timeline and circumstances of Maria’s arrival and marriage. In the movie, Maria arrives as a governess to all seven children shortly before the Nazi annexation of Austria and marries Captain Georg von Trapp as romance blossoms amidst political turmoil. However, the reality is quite different. Maria came to the von Trapp household in 1926, a decade earlier than the film suggests, not as a governess for all, but specifically as a tutor for Maria, one of Captain von Trapp’s daughters who was recovering from scarlet fever. Furthermore, Maria and Georg married in 1927, a significant eleven years before the family’s departure from Austria and long before the Nazi threat became imminent. This crucial change in the movie compresses the timeline for dramatic effect and romanticizes the urgency of their escape.
The portrayal of Maria’s motivation for marriage also diverges from reality. The film suggests a love story between Maria and the Captain, but Maria herself admitted in her autobiography, Maria, that her initial affection was for the children, not their father. She confessed to not being in love with Georg when he proposed, and it was on the advice of nuns, who encouraged her to see it as God’s will, that she agreed to marry him. Her words, “I really and truly was not in love. I liked him but didn’t love him. However, I loved the children, so in a way I really married the children. . . . [B]y and by I learned to love him more than I have ever loved before or after,” reveal a more nuanced and perhaps less conventional beginning to their relationship than the movie portrays.
Another notable difference lies in the number and names of the children. The iconic “Doe, a deer” scene introduces seven von Trapp children, each with memorable names. In reality, there were ten children in total. Moreover, the names, ages, and even sexes of the children were altered for the film adaptation. This creative license, while common in adaptations, further blurs the line between the cinematic von Trapp family sound of music and their real counterparts.
Music is central to both the movie and the reality, but the film exaggerates Maria’s role in introducing music to the family. The movie suggests that Captain von Trapp was initially opposed to music, with Maria bringing melody and joy into a somber household. However, the von Trapp family was already musically inclined before Maria’s arrival. While Maria did introduce them to madrigals, a specific style of part-song, the family’s musical inclination was pre-existing, and Captain von Trapp himself was a warm and engaged parent who enjoyed musical activities with his children. The film’s portrayal of him as a stern, music-averse patriarch is a dramatic fabrication designed to highlight Maria’s positive influence. This alteration, while enhancing the narrative arc of the movie, caused considerable distress to the von Trapp family who knew Captain von Trapp’s true character.
Perhaps the most dramatic fictionalization is the family’s escape from Austria. The climactic scene of the movie shows the von Trapps making a daring escape over the Alps to Switzerland, carrying suitcases and musical instruments, just as the Nazis close in. This iconic imagery is entirely fabricated. The von Trapps did leave Austria after the Nazi annexation, but their departure was far less dramatic and secretive. As daughter Maria revealed in a 2003 interview, “We did tell people that we were going to America to sing. And we did not climb over mountains with all our heavy suitcases and instruments. We left by train, pretending nothing.” Furthermore, their destination was not Switzerland, but Italy. Captain von Trapp’s birthplace, Zadar (now in Croatia), was part of Italy at the time, making him and consequently his family Italian citizens. This allowed them to leave Austria without suspicion and travel to Italy by train. From Italy, they contacted their American booking agent to arrange their passage to the United States, a far cry from a clandestine mountain escape.
In the movie, Max Detweiler is presented as a charming but somewhat opportunistic music promoter who plays a role in the family’s musical career. In reality, the von Trapps’ musical director was their family priest, Reverend Franz Wasner, who held this role for over two decades. The character of Max is a fictional creation, adding to the movie’s dramatic and comedic elements, but not reflective of the real people involved in the von Trapp family sound of music journey.
Finally, the movie portrays Maria as an almost relentlessly sweet and gentle figure. While Maria von Trapp was undoubtedly a caring and loving person, she was also known for her fiery temper. She herself admitted to having “angry outbursts” involving yelling, throwing things, and slamming doors. While these outbursts were usually short-lived, and she quickly regained her good humor, they were a noticeable part of her personality, particularly striking to her husband and children who were less accustomed to such displays. The younger Maria confirmed in a 2003 interview that her stepmother “had a terrible temper. . . . And from one moment to the next, you didn’t know what hit her. We were not used to this. But we took it like a thunderstorm that would pass, because the next minute she could be very nice.” This facet of Maria’s personality is understandably absent from the idealized portrayal in The Sound of Music.
The Real Von Trapps: A Story Beyond the Silver Screen
The real von Trapp family sound of music story is rich with history, resilience, and a spirit that extended far beyond the stage and screen. To truly understand them, we must look beyond the movie’s romanticized lens and explore their lives in detail.
Georg von Trapp, born in 1880, was a decorated Austrian naval hero. His bravery as a submarine commander during World War I earned him national recognition and the title of “Ritter” (knight), later elevated to baron. In 1912, he married Agathe Whitehead, granddaughter of Robert Whitehead, the inventor of the torpedo. Together, they had seven children: Rupert, Agathe, Maria, Werner, Hedwig, Johanna, and Martina. However, their happiness was marred by tragedy when Agathe died of scarlet fever in 1922. Devastated by the loss and unable to remain in their home in Pola (now Pula, Croatia), Georg sold the property and moved his family to an estate in Salzburg.
Maria Augusta Kutschera, born in Vienna in 1905, had a challenging early life as an orphan raised by an abusive relative who instilled in her atheistic and socialist views. A pivotal moment occurred when, mistakenly attending a Palm Sunday service thinking it was a Bach concert, she experienced a profound religious awakening. This experience led her to join the Benedictine Abbey of Nonnberg in Salzburg as a novice after graduating from college. Life in the abbey was initially difficult for Maria, who struggled with the strict rules and discipline. However, she recognized the value in this period of self-reflection and personal growth, stating that “These . . . two years were really necessary to get my twisted character and my overgrown self-will cut down to size.”
Due to health concerns related to the abbey’s confined environment, Maria was sent to tutor Captain von Trapp’s daughter Maria. Initially intended as a ten-month assignment before formally entering the convent, Maria’s time with the von Trapp family took an unexpected turn. She formed a deep bond with all the children, introducing them to singing and outdoor activities. Captain von Trapp, witnessing her positive influence and warmth, fell in love with her and proposed marriage. Maria, after seeking guidance, accepted, marrying Georg in 1927 and becoming stepmother to his seven children. Together, Maria and Georg had three more children: Rosmarie, Eleonore, and Johannes, further expanding the von Trapp family sound of music.
The global depression in the early 1930s brought financial hardship to the von Trapps when their bank failed. Facing economic challenges, Maria took charge, dismissing most of the servants and opening their home to boarders. It was during this period of austerity that the family began to consider turning their hobby of singing into a professional endeavor. Despite Captain von Trapp’s initial reservations about public performance, he eventually accepted it as “God’s will.” Contrary to the movie’s depiction of him as disapproving of music, his reluctance stemmed from a protective instinct rather than disdain for musical expression. Their talent blossomed, and by 1936, they won first prize at the Salzburg Music Festival, launching their successful career as the Trapp Family Singers, performing Renaissance and Baroque music, madrigals, and folk songs across Europe.
The rise of Nazism in Austria cast a dark shadow over the von Trapp family’s burgeoning success. Their abhorrence of the Nazi regime became increasingly evident. Captain von Trapp refused to fly the Nazi flag and declined offers of a naval command and a performance at Hitler’s birthday. The family grew increasingly concerned by the Nazi’s anti-religious propaganda, the atmosphere of fear and suspicion, and the indoctrination of children. Faced with the choice of compromising their principles for personal gain or leaving everything behind, they chose the latter. Their decision to leave was driven by a deep commitment to their values and a refusal to live under Nazi rule.
In June 1938, the von Trapps, accompanied by Reverend Franz Wasner and their secretary Martha Zochbauer, left Austria by train for Italy. They later traveled to London and, by September 1939, boarded a ship to New York, embarking on a concert tour in Pennsylvania. Their journey to America was not without its hurdles. Upon their return from a short Scandinavian tour in October 1939, they were briefly held at Ellis Island due to a misunderstanding about their visa intentions. Maria’s enthusiastic declaration of wanting to stay in America permanently, while heartfelt, raised questions with immigration officials. However, the matter was quickly resolved, and they continued their American tour.
In the early 1940s, the von Trapps settled in Stowe, Vermont, finding a landscape that reminded them of their Austrian home. They purchased a farm and established a music camp when not touring. In 1944, Maria and several of her stepdaughters applied for U.S. citizenship. Captain von Trapp himself never became a citizen, while Rupert and Werner gained citizenship through their service in the U.S. military during World War II. Rosmarie and Eleonore derived citizenship from their mother, and Johannes, born in Philadelphia, was a U.S. citizen by birth.
Captain Georg von Trapp passed away in 1947 and was laid to rest in the family cemetery in Vermont. In 1948, Maria and the stepdaughters who had applied for citizenship officially became U.S. citizens. The Trapp Family Lodge, a testament to their enduring legacy, opened its doors in 1950 and continues to welcome guests today. The Trapp Family Singers continued to tour until 1955, eventually disbanding as some family members pursued other paths. Maria’s strong will had been the driving force keeping the group together for so long.
In 1956, Maria, along with Johannes, Rosmarie, and daughter Maria, embarked on missionary work in New Guinea. Later, Maria managed the Trapp Family Lodge for many years. The von Trapp children pursued diverse paths: Rupert became a doctor, Agathe a kindergarten teacher, Maria a missionary for three decades, Werner a farmer, Hedwig a music teacher, Johanna eventually returned to Austria, and Johannes managed the family lodge. Maria von Trapp passed away in 1987, joining Georg and Martina in the family cemetery, leaving behind a remarkable legacy that continues to resonate.
The Von Trapps’ Reflections on The Sound of Music
Despite the immense popularity of The Sound of Music, the von Trapp family themselves had a complex relationship with the film. They did not profit significantly from its overwhelming success, as Maria had sold the film rights to German producers early on, inadvertently relinquishing control. While German films Die Trapp-Familie (1956) and Die Trapp-Familie in Amerika (1958) were successful in their own right, it was the American adaptation that reached global phenomenon status. The von Trapps had minimal input into either the stage play or the movie. Producers of the play did listen to some of Maria’s suggestions as a courtesy, but ultimately, no substantial changes were incorporated based on their feedback.
Maria von Trapp expressed gratitude that the movie did not drastically alter her original story from The Story of the Trapp Family Singers and felt that her own character was represented reasonably well, although she humorously noted that Mary Martin and Julie Andrews were “too gentle-like girls out of Bryn Mawr.” However, she was less pleased with the portrayal of her husband, Captain von Trapp. The children’s reactions were varied but shared common threads of irritation. They felt the movie simplified their story, misrepresented their musical repertoire as solely “lightweight,” and significantly altered their father’s personality. Johannes von Trapp, in a 1998 interview, articulated this sentiment, stating, “it’s not what my family was about. . . . [We were] about good taste, culture, all these wonderful upper-class standards that people make fun of in movies like ‘Titanic.’ We’re about environmental sensitivity, artistic sensitivity. ‘Sound of Music’ simplifies everything. I think perhaps reality is at the same time less glamorous but more interesting than the myth.”
In conclusion, while The Sound of Music brought the von Trapp family sound of music to a global audience, it is crucial to remember that the film is a fictionalized adaptation. The real story of the von Trapp family is one of resilience, faith, and a rich tapestry of experiences that extends far beyond the movie’s narrative. By examining historical records and firsthand accounts, we gain a deeper appreciation for the fascinating lives of the real von Trapp family, a story that is, in many ways, even more compelling than the myth. Their journey, documented in archives and personal narratives, offers a powerful reminder that truth is often more captivating than fiction.
