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