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Amadeus Season 1 Episode 1
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FunTranscript
00:00Strong language, and scenes of a sexual nature.
00:03Strong language, and scenes of a sexual nature.
00:33Strong language, and scenes of a sexual nature.
01:03Strong language, and scenes of a sexual nature.
01:31That didn't seem to be you.
01:35Your footman found this on your person.
01:40It was meant to be read posthumously.
01:43And as the snow broke your fall,
01:45and you didn't cut your throat deeply enough to bleed to death.
01:48I respected your wishes, and I haven't opened it.
01:53Were you there?
01:55I am an old woman.
01:57Antonio pulled from my bed and made a walk through the cold.
02:02But I'm here now.
02:05So why don't you just tell me whatever it was you wanted to tell me?
02:10Face to face.
02:24What is it?
02:28It's a confession.
02:30It's a confession.
02:32Here she is, can you see?
02:33I am at espy's boyfriend,
02:44I am red now.
03:45Sounded lovely up there, dear.
04:04Well, thank you.
04:05Composing something new.
04:07Oh, a commission?
04:08No, no.
04:09That's speculative work.
04:10Thank you, Bruno.
04:12Actually, I'm going to show some to the emperor today.
04:15I thought it might be fun to have him play a little and then surprise him and tell him
04:19he's the first person to perform my new opera.
04:22How could he turn it down?
04:36F sharp, your majesty.
04:38Yes.
04:38See, the problem with that note is that it's too difficult to arrive at from the note
04:46that precedes it.
04:48Who wrote this?
04:49I did, majesty.
04:50It's a new piece.
04:52Did you not consider that the F sharp was almost impossible to ascend to from here?
04:56It seemed, at the time, as if it were the correct direction to take.
05:01Well, perhaps a reconsideration is in order.
05:03Perhaps, your majesty, yes.
05:10That's enough for today, I think.
05:12Just take a look at the F sharp, will you?
05:14Of course, your majesty.
05:15You know, I have plans, Antonia.
05:22Reforms.
05:23Economic, cultural, social, religious.
05:27Reforms, the likes of which I do not believe have been attempted before.
05:31The thing with change, though, is that people aren't very keen on it.
05:34Even if it's in their best interest.
05:36So, I shall need every trick at my disposal.
05:42Do you know what opera is?
05:44Yes.
05:45Well, what do you think it is, sir?
05:49Power.
05:52Kings and queens, friends and foes, they will all come here.
05:56They will see our palaces, they will see our armies,
05:59and they will see our operas.
06:00Grander and finer than anything that London, Prague, or St. Petersburg has to offer.
06:06I cannot overstate its importance to the empire.
06:09Of course, your majesty, and it's an honor to serve the crown.
06:12Good.
06:13So, I would like you to put on a remake.
06:15Remake.
06:16Your opera, Terrare.
06:18The French one.
06:19I'd like a version for us.
06:21But, uh, not in French, though.
06:24Do it in Italian.
06:25Yes, I, I, I didn't rather have my sights set on newer compositions.
06:31Well, save them.
06:32A return to past successes is what's needed in delicate times.
06:37You're a godly man, hmm?
06:38You believe that he speaks through your music?
06:42I believe he does, sir, yes.
06:43Well, I need you to be my voice, too, Salieri.
06:47Do you have room for us both?
06:48Of course, sir.
06:49You seem tired today.
07:11I stayed up reading.
07:14Well, consider not doing that anymore.
07:17I have a new commission from the emperor.
07:19It's an old opera of mine, originally in French, to be remounted in Italian and staged here.
07:26And I would very much like you to take a role in it.
07:30Oh, core composer.
07:32I would be honored.
07:34Oh, what opera is it?
07:35Tarare.
07:38Tarare?
07:40It was very popular.
07:42I'm not sure I know it.
07:46Well, anyway, we're doing it again.
07:51I thought you were writing something new.
07:56Oh, put on hold.
07:59Now you go home and try to get some rest.
08:02Well, I will tonight.
08:03But Friday, it's the Baroness's party.
08:06Oh, I've forgotten all about that.
08:09Did you hear?
08:09She has a secret performer.
08:12Who?
08:12Well, it's a secret, isn't it?
08:14But I've heard it might be Mozart.
08:21The traveling maestro wrote his first aria in the womb and all of that.
08:26Are you not intrigued?
08:29At least to meet him.
08:30I've met my fair share of prodigies in my time.
08:35Can't say I remember many of their names now, though.
08:40Oh, yes, this could be him.
08:42He's not going to be your man, is he?
08:44What do you mean?
08:45He's not going to be raucous.
08:46Do you think we'll have a lot of things?
08:48God, where are we going to put them all?
08:49He's not putting them in my room.
08:50Of course he's not putting them in your room.
08:51Do you think he's going to be home?
08:53Oh, sure, sure.
08:56Oh, hello.
08:58And most of the time, welcome, welcome to all.
09:00Oh.
09:01Oh.
09:06Firstly, I apologize.
09:09Secondly, a good day.
09:09So it's two gold in a month for the room, and only the room.
09:14One meal a day is included.
09:16And I'll do a monthly wash, but any extra is extra.
09:19Understood.
09:20Why did you throw up?
09:22Sophie, don't be rude.
09:23That's all right.
09:23I don't mind, Sophie.
09:25You see, I had quite a bit of wine last night, and then a little more this morning.
09:28I think it was that combined with the motion of a carriage, really.
09:33Some letters have already arrived for you.
09:35Have you opened them?
09:36Oh, for my father.
09:37Let's have a look.
09:37Dear Wolfgang, I'm writing to express my displeasure at your finding room and board
09:43in a delinquent house of ill-reputed sluts.
09:46I think it's just a bit upset that I've left Salzburg.
09:49I did explain to him that you're not delinquents.
09:50Or sluts, obviously.
09:52Girls' bedrooms are down there.
09:53They all have locks on.
09:55You're up this way.
09:56Why did you leave Salzburg?
09:57Oh, my employer.
09:58I don't like to speak ill of the man, but I once met a stable boy who'd been kicked in
10:01the head by a donkey, and I think he had more cognitive aptitude than the Archbishop of
10:05Salzburg.
10:06What a lovely house.
10:07Have you been here a long time?
10:09We moved here recently.
10:11My husband passed away, and then my beautiful Aloysia got a role at the Imperial Opera,
10:16so here we are.
10:18It's marvellous news.
10:19Not about your husband, obviously.
10:21The Imperial Opera?
10:22It's marvellous.
10:23Hope to have my own work performed there one day.
10:25Oh, do you have a commission?
10:26No, just as in.
10:28Assume it won't take too long now that I'm here.
10:30Is this me?
10:30Oh.
10:32Oh, yeah.
10:45Oh, yeah.
10:47Vianna.
11:07Wolfgang, I write to you again, imploring you to see sense.
11:11Smooth to Vianna was not discussed.
11:13It is reckless in the extreme.
11:15Salzburg was the right position.
11:16I should apologise to the Archbishop.
11:18It's not your talent which causes me worry.
11:20But your niece and Vianna have destroyed shrewder men than you.
11:23Return to Salzburg.
11:24Let me guide your career.
11:26Don't ruin what we have spent so long trying to build.
11:29Mozart?
11:31Wolfgang?
11:33Sorry?
11:34I was asking about the tours you went on when you were younger.
11:37You travelled a lot, didn't you?
11:39Yes, no, everywhere.
11:41England, France, Italy, Vatican.
11:43Exhausting, really.
11:44And your mother and father, they accompanied you?
11:47Yes.
11:49Well, until mother died, of course.
11:50Oh, what happened?
11:53When my mother died.
11:55Um, well, we were in Paris and she was unwell.
11:59We meant to return together, but, uh...
12:03I returned alone.
12:05Have you been to the Opera House yet?
12:17Yes, of course.
12:17We went last year when we were visiting the city.
12:20The girl's father wasn't very well, but we still managed to see her.
12:23Did you remember?
12:24Oh, Salieri.
12:25Yes, Salieri.
12:26I thought it was quite wonderful.
12:27Oh, yes.
12:28Oh, you didn't like it?
12:31No, no, no, no.
12:31It was fine.
12:33It was fine.
12:34Constanza thinks herself quite the expert, which is funny, as she is the least capable vocalist
12:38in the family.
12:39Stanzi just has a smaller spectrum of ability, that's all.
12:42Oh, she wanted to be a star soprano when she grew up.
12:43I'm four notes short.
12:44My range doesn't reach, so...
12:45These notes.
12:50Right at the top.
12:52Well, Stanzi can't hit them.
12:52Oh, God, at least try and try and fool about in floods of tears.
12:56I wonder if you hit that high note if I kicked you in the cunt.
12:58Stanzi!
12:59What?
12:59What?
13:00She's starting to do.
13:01What?
13:01She's starting to do.
13:03She's starting to do.
13:04Why don't you say that thing?
13:05You do this.
13:06Me?
13:06Me?
13:07Me?
13:07Me?
13:08Me?
13:08Me?
13:09Me?
13:10Me?
13:11Me?
13:12Me?
13:13Me?
13:14Me?
13:15Me?
13:16Me?
13:17Me?
13:18Me?
13:19Me?
13:20Me?
13:21Me?
13:24Me?
13:43Me?
13:45Me?
13:47Me?
13:49Me?
13:50Me?
13:50I'm not supposed to be in here.
14:14Treat room.
14:15Don't touch them.
14:16Actually, in my experience, things you're not supposed to touch.
14:19And the very things that you should touch first.
14:22And taste?
14:24Oh, that's nice.
14:37Oh, that's nice.
14:40It's okay.
14:42Fuck.
14:44Oh, that's nice.
14:45It's okay.
14:46Fuck.
14:47A direct hit.
14:48Shit.
14:49I have a performance to give.
14:50Katarina Cavaliere.
14:51My name, by the way.
14:52I want you to remember it.
14:53How could I not?
14:54Toodaloo.
14:55Toodaloo.
14:57Doodaloo.
14:58Doodaloo.
14:59Doodaloo.
15:00Doodaloo.
15:01Doodaloo.
15:02Doodaloo.
15:03Doodaloo.
15:04Doodaloo.
15:05Doodaloo.
15:06Doodaloo.
15:07Doodaloo.
15:08Doodaloo.
15:09Doodaloo.
15:10Doodaloo.
15:11Doodaloo.
15:18Doodaloo.
15:21Doodaloo.
15:34It was on the surface a simple piece.
15:38But the more you listened the more the layers presented themselves.
15:40The melody and the harmony alternating seamlessly between right and left hands.
15:47Hands which glanced over the Baroness's forte piano,
15:55as if guided by something greater than himself.
15:59This repulsive creature playing so explicitly.
16:10What do you think?
16:23Fun, no?
16:25Wolfgang Amadeus Mozart.
16:27Antonio Salio.
16:29The court composer?
16:31Yes.
16:32This is incredibly fortuitous. The whole reason why I came to Vienna was to write for the Imperial Opera.
16:38Well, there's a process to all of that.
16:43I wouldn't be a bit tart. You must at least be able to get me one meeting with the Emperor.
16:47He's a very busy man.
16:49What could be more important than this?
16:50Than meeting you.
16:52Well, I believe he's currently drawing up plans to ensure our nation's claim on the Kingdom of Bavaria.
16:58I suppose that might be taking up some of his time.
17:01Oh, please. Just one meeting. I'll be forever in your debt, obviously.
17:08Well, there is an opportunity coming up. It's a duel at the palace against Clemente.
17:13The Emperor will be judging the winner.
17:14Ah, yes.
17:15But it's in less than a week. There's no time to prepare.
17:18That's loads of time to prepare.
17:20Might start to perform badly, but do you more harm than not performing at all?
17:23I don't.
17:24You don't what?
17:25Perform badly.
17:29Then I shall make arrangements.
17:31Yes. Thank you so much. Thank you, Herr Salieri.
17:34Of course.
17:35Pleasure to meet you. You've just made an excellent evening even better.
17:38Hello.
17:39Hello.
17:40Hello.
17:41Hello.
17:42Hello.
17:47Bruno?
17:48Yes, sir.
17:49Ah, Bruno. I'll forgo dinner tonight. I mean to compose.
17:53Excellent, sir.
17:54Actually, leave me a small cut of beef and some vegetables on a tray outside the door.
17:58Yes, sir.
17:59And potatoes are in season, aren't they?
18:01They are, sir.
18:02I'll have some of those, too, and a glass of wine.
18:04There's a Brunello that will pair excellently, but it's young, so open it now. We'll need time to breathe.
18:10Of course, sir.
18:11No disturbances of any kind.
18:13I believe inspiration will not be in short supply.
18:16And say goodnight to my wife. I don't think I'll see her this evening.
18:20Right, sir.
18:34Good night.
18:58Wolfgang
19:12Constanza, is everything all right?
19:14It's three o'clock in the morning
19:15Is it?
19:16Yes it is
19:17And most people are asleep
19:19In the quiet
19:21Ah
19:23Did you just write this?
19:33Can I?
19:34Please
19:34It's quite good
19:44Thank you
19:45Quite good
19:46Is it true what your sister said about you?
19:53The other night
19:54My range
19:55Mm-hmm
19:56Yes
19:58I used to dream about it
20:00Being a singer
20:00Call her a chiro soprano
20:03Wanted to be a star
20:05I suppose
20:05I agreed with you about Armida
20:09By the way
20:09All those boring trails
20:12Only a fool would like something like that
20:14Maybe not calling my sister a fool
20:17Oh I wouldn't dream of it
20:19I felt really sorry hearing about your childhood
20:26Having to travel around like that
20:28I was a very happy child
20:30Were you?
20:34I don't know
20:35Were you?
20:39No
20:39Well I
20:40I wasn't happy
20:42Or sad
20:43I was
20:43Just
20:44Unremarkable
20:49Unremarkable?
20:51Mm-hmm
20:52There are only four notes
20:55Constanza
20:55But I can't reach them
20:57Okay well
21:04I'm gonna go back to bed now
21:05Yes
21:07I'll stop playing
21:08No
21:10Don't
21:11I'm gonna go back to bed
21:29Hey
21:30Good
21:30Yes
21:30Good
21:31Good
21:31Good
21:32Good
21:32Good
21:32Good
21:34Good
21:35Good
21:36Good
21:37Good
21:38Good
21:38Good
21:39Good
21:40MUSIC PLAYS
22:10Did you just fall down the stairs?
22:26No. Why do you ask?
22:30What time's the duel?
22:32I think it's in about an hour.
22:34Right?
22:36Should you be completely smashed for that?
22:38I'm not completely smashed for that.
22:39I've just had a couple of sharpeners with lunch, honestly.
22:43Pull down one flight of stairs, suddenly everyone's accusing you of being completely smashed.
22:46Hey, excuse me.
22:47Tonight's too important for you to mess it up.
22:49Sit down.
22:50Sit down. I'm making you coffee.
22:52Coffee. Yes.
22:53Good idea.
22:54Coffee with a little splash of cognac, if you don't mind.
22:56This is excellent.
22:57Truly.
22:58I actually know how to juggle.
22:59What's excellent?
23:00You're adding self-sabotage to all your other character flaws.
23:05I don't have character flaws.
23:06You have almost nothing but character flaws.
23:09Vienna isn't Paris.
23:09It isn't London.
23:10It isn't Prague.
23:12Anywhere else than it is?
23:13Wolfgang.
23:13I want you to succeed here.
23:17Because if you don't, then you can't pay rent.
23:19I will have to sell my things, prostitute my sisters, and I really like my things.
23:25Tonight isn't a lot of game.
23:28It's an audition.
23:30You need these people.
23:31Very fancy, very fancy.
23:42Oh my gosh, oh my gosh.
23:43Have you ever met the Emperor before?
23:45No.
23:46Wolfgang, no.
23:47I've not met the Emperor before.
23:48Most people don't.
23:50We should have worn a different dress.
23:52Why?
23:52I think you look very comely.
23:54What do you mean, very comely?
23:55Nothing.
23:56I just think you look nice.
23:56I thought you had to say.
23:57No, no, no.
23:57You're not helping.
23:58Shh.
23:58You're not helping.
23:58Wolfgang.
23:59Wolfgang.
24:03Hello.
24:06Wolfgang.
24:06Wolfgang.
24:08Come.
24:11Your Majesty.
24:12Oh, don't need to worry about that.
24:13Oh, sorry.
24:14Yes.
24:15I've heard many stories about your talents.
24:16Can't tell you how keen I am to hear them for myself.
24:20Yes.
24:22And this is?
24:23Your Constanza, Majesty.
24:25I mean, Constanza, Your Majesty.
24:29Very good.
24:31Well, shall we begin?
24:32Well, shall we begin?
24:33Four.
24:33Three.
24:35Three.
24:45Four.
24:52Eight.
24:52Five.
24:54Five.
24:55Three.
24:56Oh, yeah.
25:01All right then, you want to take?
25:04Ooh.
25:25Very good.
25:30Actually, may I have a go at that one first?
25:32I quite like that one.
25:34By all means.
25:35Do you need the music?
25:36No, thank you.
25:51Oh, very good.
25:52Very jolly.
25:53Oh, yuck.
26:03Who wrote this?
26:05Can I change it?
26:06Feel free.
26:07Oh, my goodness.
26:08The F-flop is difficult, isn't it?
26:21Clemente, your response.
26:22Burns on.
26:23Burns on.
26:36Merch on!
27:01Menti?
27:06Come on, Clemente, fight back.
27:29Do you like no other?
27:31What does he have to do like this?
27:33Brother Eddie, well done your man.
27:37Ladies and gentlemen, how are you Mr. Mozart?
27:41Oh, he's what a real man.
27:44It's extraordinary.
27:46Absolutely shitting outrageous.
27:49Mozart! Mozart! Mozart!
27:51Oh, well, that was memorable.
27:53Never been fucked in a palace before.
27:55Excuse me.
27:56Tie after that?
27:57Would it have helped if I played upside down? I can do that, you know.
27:59Well, God willing, I won't die without witness.
28:01You owe me 50 ducats. That prize should have been mine in its entirety.
28:04Wolfgang.
28:05He doesn't mean it, sir. He just gets passionate.
28:08The prize wasn't the money Mozart, it was the Emperor's favour.
28:11And believe you me, you didn't share in that.
28:13Who wants to commission an offer from you?
28:16What?
28:17Well, there was some in the court who thought you might be a little too green, but I...
28:21I convinced them you should be given a go.
28:24I-I don't know what to say.
28:26Well, let us all revel in your temporary silence.
28:28Be here, Monday afternoon, 1pm sharp.
28:31We'll discuss plans.
28:33Thank you so much, Court, completely thank you.
28:34Oh, of course.
28:35Of course.
28:37Shh!
28:38Shh!
28:39Come here.
28:40Shh!
28:41Come here.
28:42Come here.
28:43Shh!
28:44Come here.
28:45Shh!
28:46Come here.
28:47Shh!
28:48Hello.
28:49To the Emperor.
28:51to the emperor to the opera to you to us
29:15is this what you do
29:16what kiss any girl who's nice to you would you prefer for me to not kiss you
29:25i think it would be improper
29:29that's not what i asked her oh i know that's not what you asked though
29:34if you don't tell me not to kiss you then i'm going to kiss you i'm not going to tell you not
29:39to kiss me oh my goodness i can't listen to any more mother
29:42hello have you been listening the whole time one rule i have wolfgang i will not allow wickedness
29:51under this roof i will not have my girl's reputations damaged if you break this rule i will throw you
29:56out of this house myself and chop up your instruments for firewood do you understand
30:00yes but yes so it is late and it would do it all well to go to our separate rooms yes yes
30:12good night wolf king
30:20another letter for you from your father you know you really should write back to him or i will
30:38you should have seen the look of clementa's face
30:43oh here he is
30:46wow good afternoon your majesty
30:49ah mozart do come in
30:52so her mozart congratulations on your commission we're all very
30:55intrigued to see what you can do now i'd like to start by talking about possible themes which oh i
31:01already have an idea oh really yes uh very excited about it actually but uh first of all just to
31:07say this will be an opera in german true yes not italian well i just thought it would be nice if the
31:14audience could understand what was being sung for once i haven't always found that to improve the
31:18experience all right what's your idea uh yes i've written the first act already but in terms of story uh
31:27well here's the thing it's quite daring both in its composition and in its setting setting yes it
31:33takes place in a harem a fucking what oh pardon i'm just excusing except where a harem a whorehouse
31:43a seraglia and you consider this appropriate yes i mean it's funny it's different i can assure
31:49you there won't be any inappropriateness and uh of course it will contain many fine german virtues and
31:59what are those exactly being italian i'm not sure yes come on that name us a proper german virtue um
32:11well love sir i suppose but this feels like a risk i'll say
32:20well we already have antonio redoing his terraria i think we can probably afford to be a bit
32:26exciting with this one give it a short run low costs don't seem to be too much risk there
32:32thank you your majesty thank you thank you mozart oh thank you so much thank you
32:40thank you
32:41dear lord please speak through me please use me as you have used me before
32:53lord let me be your fast lord let me be your voice
33:05speak speak
33:09speak
33:21Well, one part excels at least.
33:38Bravo!
33:39Bravo.
33:41That'll do for today.
33:43Thank you, court composer.
33:46Bravo, court composer.
33:48Sounding magnificent.
33:50Don't. Don't pretend it's something it's not.
33:53I know you know.
33:55Anyone in this city, you know.
33:57I mean, it doesn't disgrace you, at least?
33:59I have done better work than this.
34:01I'll meet her. Now, there was an opera.
34:04There was an opera, yes, indeed.
34:06I'm trying to compose something new, but it's not coming to me.
34:09I've had dry spells before.
34:11The voice leaves me for periods, but it always comes back.
34:15But you can't help fear.
34:21What if?
34:25What if?
34:28What if?
34:29What if it doesn't come back?
34:32Wait there a moment.
34:33Oh, no.
34:39Oh, no.
34:41As a thank you.
34:42A bit strong.
34:43It used to be that I could find his voice as easily as I found my own.
34:57His?
35:00God's.
35:02Oh, yes.
35:04Him.
35:04You don't believe what we do is divine?
35:06This, this is a gift that's given to us, no?
35:13Music is the closest man gets to conversing with God,
35:16and if this is a conversation with God,
35:17I'm not composers the one speaking in his voice.
35:24Let's have a look.
35:24I mean, a few lines and dots.
35:33It's just instructions, isn't it?
35:35Mathematical instructions.
35:37I mean, are these methods to capture the voices of angels
35:40or merely a command to an oboe player?
35:44I believe it's more than that.
35:46I believe it must be a holy gift.
35:49Holy gift?
35:50I mean, say it is God who gives us this.
35:55Fucking hell, I wish he'd leave me alone sometimes.
35:57It's constant, the bombardment, the arrangements, the variations.
36:01I mean, what's he trying to say with it all?
36:14It'll be full in a week.
36:18The watchers.
36:20Come to accept our offerings.
36:29I keep having this dream.
36:34I'm walking through my house,
36:37and I hear a noise, and I look out,
36:38and I see that there's an audience watching me.
36:41And they watch as I sleep and eat and drink and perform all the human acts a man might perform.
36:51And they applaud at the end, at the end, at the end, they applaud.
36:59But they never stand.
37:00And it kills me.
37:04They like it well enough.
37:09My little performance.
37:11I know that when they leave the theatre and they return to their homes, the memory of me will fade.
37:19I used to write all night long, pages upon pages of music just flowing.
37:30Not anymore.
37:31Not anymore.
37:35Oh, my goodness.
37:43Sorry.
37:44Sounds like you're a little bit blocked, Herr Salieri.
37:49Maybe you need to try to flush the pipes out somehow.
37:52How do you mean?
37:57Noticed you were paying Frau Cavalieri
38:00a bit of extra attention just now?
38:05So?
38:07Maybe you need to try a different kind of night music,
38:10court composer.
38:12See if that helps.
38:14.
38:29.
38:33Night music.
38:35.
38:40.
38:42Oh, my God.
39:12Oh, my God.
39:16Oh, my God.
39:24Hello.
39:28Hello.
39:30Hello.
39:32Just checking, you're all right?
39:35Not drinking yourself into a soup or anything?
39:38No, I'm all right, thank you.
39:41Oh, yes, another one.
39:49Your father.
39:51Will he be there tonight?
39:53No.
39:55Well, fuck him then.
39:59Goodbye.
40:01Bye.
40:03Bye.
40:05Bye.
40:07Bye.
40:09Bye.
40:11Bye.
40:13Bye.
40:15Bye.
40:17Bye.
40:19Bye.
40:21Bye.
40:23Bye.
40:25Bye.
40:27Bye.
40:29Bye.
40:31Bye.
40:33Bye.
40:35Bye.
40:37Bye.
40:39Bye.
40:41Bye.
40:43Bye.
40:45Bye.
40:47Bye.
40:49Bye.
40:51Bye.
40:53Bye.
40:55Bye.
41:57Well, that was very interesting.
42:00And new.
42:01Felt very new.
42:02Thank you, Your Majesty.
42:04Although, of course, perhaps not without its faults.
42:06Though, I'm sure that's only to be expected.
42:09Faults, Your Majesty?
42:10Well, yes, um, yes, it just felt at times that there were, well, perhaps it was just too many notes.
42:25Too many notes?
42:27Yes, too many notes.
42:29You know, there are only so many notes that an audience can listen to of an evening before one cannot take any more.
42:35It did feel at times as though one was being slightly bombarded.
42:39With notes?
42:40With notes, yes.
42:41You agree, court composer?
42:49Yes, Your Majesty, you're not wrong.
42:53A piece can become too busy.
42:55It's a mistake a young composer can easily make.
42:58Well, it was a very fine opera, all the same.
43:03Just perhaps remove some of the notes and it'll be perfect.
43:08Yes.
43:09Which notes, sir, did you have in mind, Emperor?
43:12One more round of applause for our young composer and his fine performance.
43:32Hey, Salieri.
43:34How could you do that?
43:36What?
43:36Why didn't you stand up for the music?
43:39It's politic to myself.
43:40You can't disagree with the Emperor.
43:41I didn't ask why you didn't stand up for me.
43:43I asked why you didn't stand up for the music.
43:45It was perfect.
43:47How could you stand there as a composer and just agree with him?
43:50He liked the piece.
43:52I'm sure there'll be another.
43:54Take the victory.
43:55You know, just because you're stuck rehashing boring old operas doesn't mean I have to be.
44:00Maybe God doesn't speak to you because you fucking bore him.
44:11Too many notes.
44:36There was ridiculous criticism.
44:37The Emperor couldn't hear it.
44:39Most people couldn't hear it.
44:41But I could.
44:44I could hear even then what he was.
44:46And what he would become.
44:51It wasn't then, though.
44:53It was later, a month or so later, at a performance in the Palace Gardens.
44:59Excuse me.
45:00Sorry.
45:01Sorry I'm late.
45:02Excuse me.
45:03Excuse me.
45:05Sorry.
45:05He managed to get in one final insult.
45:09Delivered as only he could.
45:23Ladies and gentlemen, we would like to begin with a new composition.
45:28It's a modest piece, but I wrote it in the small hours of the night.
45:32As if a voice was speaking to me.
45:35And only to me.
45:38If you look under your chairs, the details are on the back of your programs.
45:54Perhaps it was in that moment I knew what I was going to do.
45:58The moment you knew you were going to do what?
46:01I was going to kill Wolfgang Amadeus Mozart.
46:04I was going to kill Wolfgang Amadeus.
46:08Yes.
46:09Yes.
46:10Yes.
46:10I was going to kill Wolfgang Amadeus.
46:14I was going to kill Wolfgang Amadeus.
46:15I was going to kill Wolfgang Amadeus.
46:16I was going to kill Wolfgang Amadeus.
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