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Short filmTranscript
00:00Did I ever tell you I was a priest at the church of San Luca?
00:07I mean, the whole of Venice is beautiful, assuming you like canals, which I don't, actually.
00:12But I do think I was rather good at the whole priest thing, save for the mistress.
00:17I had two children with her, which, anyway, they defrocked me, if you can believe it.
00:21Banished from Venice. Yes, I can believe that, actually.
00:24The emperor is constantly for thought.
00:26I mean, it's outrageous.
00:27Child labor outlawed. Peasants allowed to move wherever they want.
00:30That was Constanza these days.
00:32I actually worry sometimes about, you know, my students and so on.
00:35Your students?
00:36Yes, my students are drying up.
00:39Anyway, more importantly, the emperor's commissioned me to write another opera.
00:42I did hear that. What's it about?
00:44No idea.
00:46I was going to ask you, would you like to be a part of it? Fancy putting some words to the music?
00:50Well, I'm sorry, darling, but I have another master.
00:53Do you?
00:56That's funny.
00:58He never used to come to these things.
00:59Well, I think they, he's grown something of a dark side.
01:02What do you mean?
01:03Well, I heard that they don't see him much at church on Sundays anymore.
01:06Let's just say that.
01:09That's not going to happen, Jess.
01:12The emperor slaps the faces of the aristocracy, answers to turn the other cheek and thank him.
01:17Hello.
01:18Hello.
01:19Hi.
01:20I don't really have anything to say to you.
01:22I just thought if someone didn't step in and stop talking to you, you might have murdered one of those men.
01:26Oh, I might tell.
01:27I'm Franz Sussma.
01:31Are you a friend of my husband's?
01:32Oh, no, just with Myra.
01:34Oh.
01:35Oh, well, you're fitting well here then.
01:37Very well.
01:37I saw you sing last year.
01:40No.
01:40The mass.
01:42Yes, I...
01:43I still think about it.
01:47Anyway, I'm glad I met you.
01:50Have a nice evening.
01:51What happened to your eye?
02:08Oh, slip getting out of the bath.
02:11They're death traps.
02:12My wife insists on having two a month.
02:14I tell her she's taking her life into her hands.
02:16How's the new work?
02:18Oh, good.
02:19Les Arras.
02:20Operatic tragedy.
02:20An operatic tragedy.
02:22Well, it's been at least five minutes since the last one.
02:25The librettus?
02:26The ponte.
02:28Oh, feckless creature.
02:29Well, Lorenzo has his eccentricities, but he's the best, and only the best will do.
02:36How are you, Antonio?
02:37I'm fine.
02:38It's just you seem not yourself these days.
02:40I'm not sure what it is.
02:41I worry, actually.
02:42You can tell me if there's something wrong.
02:43Are we talking about our feelings, Giuseppe?
02:46You're getting soft capital, Meister.
02:48I'm perfectly fine.
02:50Well, I do have something to talk to you about.
02:53The court has commissioned Mozart again.
02:56The emperor likes him.
02:57Well, he's a risk.
02:58Well, I mean, you've heard it, Antonio.
03:01My God, the boy can write.
03:03You can't deny that.
03:04Well, I think his talents may be outweighed by his...
03:08Eccentricity.
03:10The emperor wants to give him another go.
03:12My hands are tied.
03:14We are opening ourselves up to ridicule.
03:17Joseph wants his opera houses to be a shining light for all of Europe to...
03:21Giuseppe.
03:24Oh, okay.
03:25I don't think...
03:25dulu.
03:26Oh, okay.
03:29Hold on.
03:33Oh, come on.
03:35Say, hammer.
03:36Then come on.
03:38Zen, let's go back.
03:40Oh, come on.
03:42Come on.
03:43Let's go.
03:43Zen!
03:44Let's go.
03:45Let's go.
03:46Tell him.
03:47And we're in the Sabbath.
03:48Let's go home you're outweighed by our infernal one.
03:50What do you do?
03:51Look.
03:52We're going to need a new Kappelmeister.
04:17Our new Kappelmeister.
04:19Congratulations.
04:22So, how does it feel?
04:24No different.
04:25You have all of Vienna and its musicians in your palm.
04:28You must feel something.
04:29We'll have to be quick today. I have a lot of meetings.
04:32Will you still be able to tutor me?
04:34Well, that Kappelmeister has to be very selective over who he keeps in his inner circle.
04:41I am going to have to let a lot of my pupils go.
04:45But you, Katerina, you, I intend to keep in my palm.
05:01Thank you very much.
05:03Amo bellino al mio, bellino al mio, a questo mio temor, non è tormento.
05:33Can you imagine choking to death with beef of all things?
05:36What's wrong with beef?
05:37Well, I can think of better things to choke on.
05:40There we are, sir.
05:41I love it!
05:42Anton, that sounds a bit flat to me.
05:46We've made Cellieri Capelmeister, did you hear?
05:49I wish I mentioned it 89 times, yes.
05:52He's actually summoned me to go meet with him.
05:54What's he want?
05:55No, Anton, that's sharp now. Just go through it all again, I think, please.
05:59I think he wants to talk to me about the new opera.
06:01Rosenberg thinks I might get a longer run this time, which is good.
06:05There was a boy at our party a few weeks ago.
06:08He'd been at Raymond's Mass.
06:10Right.
06:11He remembered hearing me sing.
06:17Hadn't been able to stop thinking about it.
06:19Well, that's a good piece and all that, wasn't it?
06:22I was just thinking about doing it again.
06:25Doing?
06:26Singing.
06:27Oh, as in professionally?
06:30Well, I was a good enough soprano when I was younger.
06:34There are roles out there.
06:35In my range.
06:36In my range.
06:37Me.
06:38Yes.
06:39Yes, no, it's just singing in Mass is one thing,
06:41but opera's kind of weeks on end, sometimes months.
06:48See you later.
06:49Mozart!
06:50Come in.
06:51Come in.
06:52Oof.
06:53I was very sorry to hear about Bono.
06:54Oh, yes, yes.
06:55Terrible, makes one wonder, doesn't it?
06:56All this chaos what God's plan might be.
07:14Yes, now, your new commission is,
07:21Yes, now, your new commission. I had to petition hard for you. There are still some at the court who needed persuading.
07:31I don't wish to speak ill of the dead, but I think that Bono's passing may have been a benefit to you, if you take my meaning.
07:40Yes, absolutely. No, yes, of course. And believe me, I'm grateful for everything. I really am.
07:47Still, what's the theme? General idea of the thing?
07:51No idea, I'm afraid. I'm still working on that.
07:54Really? Well, we were all thinking something a little fantastical.
07:59Fantastical? Gods, angels, kings, knights, that sort of a thing. Bit of a spectacle. The Emperor wants crowd-pleases, if you understand.
08:08No, thank you, no. I think people are bored of that now. I was imagining, if anything, something a little bit more sort of real life. You know, just sort of relatable.
08:16Well, sorry. Audiences don't come to the opera to see relatable characters. They come to be inspired.
08:25Yes, I think I can do both.
08:28Of course you can.
08:31Of course you can.
08:33I have, uh, given you the librettus Argenti.
08:40Argenti?
08:41Mm-hmm.
08:42Are you joking? Am I writing a birthday card? Or a sing-spiel for three-year-olds?
08:48Argenti is a more than confident librettist.
08:50Argenti can barely spell librettist. He's a moron.
08:53Be that as it may, everyone else is busy.
08:57Oh, and I almost forgot. The Emperor wants this before Christmas.
09:01Before Christmas?
09:02Yes, I'm sorry. I hope that won't be a problem.
09:04Not for me, but I suppose I'd better tell Argenti to start sharpening his quill.
09:07Hopefully he won't accidentally stab himself up the arsehole with it.
09:10Good.
09:11Well, uh, let me know to the feed. As soon as possible.
09:15Of course.
09:16And my best to Constanza.
09:18Thank you so much.
09:30I want to know what it's like to make something beautiful.
09:33I'm reading your most wonderful book. It's a play. It's a band, you know.
09:45Banned by whom?
09:46My uncle, obviously.
09:49What's it about?
09:52A marriage.
09:54A lust.
09:56A desire.
09:58A good lies and truth.
10:01Why is the Emperor banned this book?
10:05He thinks it's dangerous.
10:07Sounds so silly, doesn't it?
10:09Being afraid of something like a book or a song.
10:12Well, words can be dangerous.
10:16Perhaps I quite like danger.
10:24If I don't get what I want, I get bored.
10:27I hate getting bored.
10:30Well, sometimes life is boring, so...
10:36If you can't give me what I want, then I don't see there's any point in you being my tutor anymore.
10:43And I don't think you can afford to lose me.
10:46I mean...
10:50What are you gonna do without me?
10:52Beg on the street?
10:58I'll make you back.
11:00I'll make you back.
11:22It's a band play.
11:24It's band because there's truth in it.
11:26It's band because it depicts the servants as smarter than the masters.
11:29Which they are.
11:29Let me say, as a particularly smart servant myself, you should find a different story.
11:34Okay.
11:35Let me play you something.
11:36Something of what?
11:37Of this.
11:38I've already started writing it.
11:39I can't stop thinking about it.
11:41Well, try harder.
11:42Come on.
11:43No.
11:43One aria.
11:44One aria.
11:45That's the deal.
11:45Come on.
11:46To what end?
11:46Because you are going to be my librettist.
11:50But I told you, I'm spoken for, and my other half gets very jacked.
11:53Do you really want to spend the rest of your life writing milk toast operas for Kapelmeister Salieri?
11:57Yes.
11:58Don't you ever just want an easy life?
12:01No.
12:01Not at the expense of the music.
12:03Come on.
12:03One aria.
12:04All right.
12:05What do you mean you're quitting?
12:08I've promised my services to another composer.
12:12Who?
12:13Mozart.
12:14But you're working for me.
12:15Yes.
12:16No.
12:17It's just...
12:18No.
12:18It's just what?
12:20He played me some of it.
12:32Well, I suppose you could work on both at once.
12:35Well, that won't be possible.
12:37Why not?
12:38You're leaving Vienna?
12:40Just until we finish writing it, yes.
12:42We?
12:42Me and DePonte.
12:43Why can't you write it here?
12:44Because if anybody finds out about what we're doing, they'll shut us down.
12:47What are you talking about?
12:47What is this opera?
12:49It's a secret.
12:49Stand aside.
12:50I don't understand.
12:51Look, this is how we have to do it.
12:53It can't be ruined.
12:54It's very, you know, it's very delicate, okay?
12:56I can't explain it to you.
12:57No, no, you can't.
12:59And the Princess Elizabeth, her lessons?
13:00I don't know.
13:02It's probably good that we have some time apart, frankly.
13:05Time apart?
13:05What do you mean, time apart?
13:06What happened?
13:09Oh, no, nothing's happened.
13:11Those lessons are important.
13:12We worked really hard to get you that job.
13:14I can't be thinking about fucking music lessons, okay?
13:16I have to do this.
13:18I have to do it.
13:19Yes, you have to leave.
13:20Yes.
13:21Well, yes.
13:22Will you be back next month?
13:28I don't know.
13:29Probably not.
13:30Why?
13:33It'll be Raymond's anniversary.
13:34But I will lay flowers on your behalf, shall I?
13:50Good afternoon, sir.
13:53Fuck!
13:54Fuck!
13:59Fuck!
14:00Fuck!
14:00Fuck!
14:04Fuck!
14:04Oh, my God.
14:34Some rather unfortunate news.
14:36You'll remember how at Bono's insistence
14:38Mozart was given another opera commission.
14:40Well, he's stolen my librettist, you see,
14:42and what's more, he's refusing to reveal
14:44what his opera is even about.
14:47Your Majesty, what happened?
14:50One of the dogs bit me.
14:52Tried to stop it mauling the stay.
14:54Stupid.
14:55Bono didn't commission Mozart, I did.
14:58I've got enough librettists in this damn town
15:00to go around to put your share.
15:01Of course we can.
15:05There is, however, another matter,
15:07a more sensitive matter
15:08I thought you should be aware of.
15:11There are rumours that Mozart may have been
15:13indelicate with the princess.
15:17Indelicate?
15:18Well, I've been whipped.
15:19No, just his manner, sir.
15:22Nothing that would have crossed that line,
15:24I assure you.
15:25But even so.
15:27Yes, no, we can't have any suggestion of impropriety.
15:30Especially.
15:31Even her temperament.
15:33We can have him quietly removed from the position,
15:35no need for a scandal,
15:36and I can find somebody more appropriate
15:39to choose to her.
15:40Fisher, perhaps.
15:40No, you do it.
15:41Me, tutor her.
15:42Are you sure?
15:43Yes, it's cleaner that way.
15:45Besides, I have enough of my plate
15:46as it is right now.
15:48Of course.
15:48And the opera.
15:50You're the capital master now, Salieri.
15:52If one of your composers
15:52is writing a secret opera,
15:54it is up to you to find out what it is
15:55before whining to me about it.
15:57I've washed this shit off me.
15:58I'm a dance.
16:06I'm a dance.
16:07I'm a dance.
16:07Jesus Christ, are you working?
16:32I'm not in the carriage, Wolfgang.
16:34This is a sacred space.
16:36What's there to it, anyway?
16:37Wait, excuse me.
16:38It's a farce.
16:40Everyone dresses up as everyone else.
16:42So-and-so hides under so-and-so's frock.
16:44They all fuck each other.
16:46The end.
16:46It's not that kind of farce, though, is it?
16:47There's more to it than that.
16:48Figaro, Susanna,
16:49they lose each other,
16:50then they find each other again.
16:51It's complicated.
16:53You need to capture the spirit.
16:54The marriage of Figaro.
16:57Yes.
16:59How's the marriage of Mozart?
17:00Okay, look.
17:01Pull me another drink.
17:13Great, great, good.
17:14That's good, that's good, that's good.
17:15That's very great.
17:17Who's got that?
17:21Go on.
17:22Oh, sorry.
17:26Come on.
17:29Wolfgang,
17:30you dragged me away from Vienna
17:31to write an illegal opera with you.
17:33I was under the impression
17:34that we'd at least be very drunk.
17:36Very drunk.
17:37I'm trying to work out
17:37the feeling of this section.
17:38What is the feeling of it?
17:40The Count is confused.
17:42He thinks that Susanna doesn't love him.
17:43Okay, really?
17:44We can have her lie to him
17:45and give him a false hope,
17:47a false promise.
17:48Deception.
17:50Deception.
17:50Betrayal.
17:53Forgiveness?
17:54Oh.
17:55Forgiveness is good.
17:56Yeah, forgiveness is good.
17:57Okay, yes.
17:58Feeling of forgiveness.
18:00Wolfgang,
18:00I'm going to invite some girls over now.
18:03Uh-huh.
18:03You could just put a pin in the opera chat
18:05for five minutes.
18:06Uh-huh.
18:07Susanna and the Countess
18:08have started working together.
18:09That's why Susanna goes to the Count.
18:11But she needs to convince him
18:13that she does love him.
18:13That's all part of this amusing plot.
18:15And it's like,
18:15oh, finally, Trudeau.
18:17Why did you make me wait so long?
18:20You know,
18:21I was a priest in Venice.
18:23And how's it end?
18:24The opera?
18:25Well, they end up happily together.
18:27So not like real life, then?
18:29Oh, don't say that.
18:31He's so sweet.
18:32He's writing this for his wife.
18:34Anyway,
18:34thank you for the company.
18:35This has been fun.
18:36Where are you going?
18:37Going to work.
18:38Fucking hell.
18:39You can't leave.
18:40I mean,
18:40you just told us all about your opera.
18:41You have to play this, then.
18:42Well, the instruments are all in my room.
18:44Well, you can play it to me in your room, then.
18:52Amadeus!
18:54Amadeus!
18:55Put your bow down
18:56and fuck someone!
19:08That's the duet from the third act.
19:11I didn't actually think
19:12you were going to play me your opera.
19:14Yes.
19:19Yes.
19:22It was very nice, Dale.
19:26And
19:26you're writing it for your wife?
19:29Yes.
19:32You could just
19:32talk to her.
19:39This is how I talk.
19:40Well,
19:43they better be good, then.
19:46Yes.
19:46Yes.
19:46Yes.
19:46Yes.
19:47Yes.
19:47Yes.
19:47Yes.
19:48Yes.
19:48Yes.
19:48Yes.
19:48Yes.
19:49Yes.
19:49Yes.
19:50Yes.
19:50Yes.
19:50Yes.
19:51Yes.
19:51Yes.
19:51Yes.
19:51Yes.
19:52Yes.
19:52Yes.
19:52Yes.
19:52Yes.
19:52Yes.
19:53Yes.
19:53Yes.
19:53Yes.
19:54Yes.
19:54Yes.
19:54Yes.
19:54Yes.
19:55Yes.
19:55Yes.
19:55Yes.
19:56Yes.
19:56Yes.
19:56Yes.
19:57Yes.
19:58Yes.
19:59Yes.
20:00Yes.
20:00Yes.
20:01Yes.
20:02Yes.
20:03Yes.
20:04Yes.
20:05Yes.
20:06Yes.
20:07Yes.
20:08Yes.
20:09Yes.
20:10Yes.
20:11Yes.
20:12Yes.
20:13Yes.
20:13Yes.
20:14Yes.
20:15STANZA!
20:28STANZA!
20:45STANZA!
20:55STANZA!
21:00STANZA!
21:05STANZA!
21:10STANZA!
21:14STANZA!
21:24STANZA!
21:30STANZA!
21:38STANZA!
21:43Hello, Fram Mozart.
21:54Sorry to stumble you.
21:56Francis Meyer, we met a while ago.
21:58Yes, yes, you rescued me from a very boring conversation at a party.
22:01You remember.
22:02Yes. What can I do for you?
22:03Well, I wondered if I could talk to your husband.
22:06Oh, he's not here.
22:07Oh, that's a shame.
22:10I'm here on behalf of the Royal Viennese School of Music, you see.
22:12We've been writing to him about performing for the school.
22:15You should come in.
22:16I shouldn't.
22:17You'll get washed away.
22:20Come in.
22:22So this performance?
22:24For the school.
22:25I mean, it would just need to be a half an hour,
22:28just some works on the fortepiano, maybe the viola, whatever he wanted.
22:33Two florins.
22:34Two florins?
22:36For an hour, yes.
22:38It doesn't do half-hour concerts.
22:39My husband is a royally commissioned opera composer
22:41and as to our tutor to the Princess Elizabeth.
22:44If you require a quartet,
22:45we'll source musicians for 15% cut of each of their fees.
22:47Yes, of course.
22:48I just need to discuss that with the head of the school.
22:51And the fee would need to be paid up front, of course.
22:53Naturally.
22:55You speak very plainly.
22:58Is that a problem?
22:59No.
23:00No, not at all.
23:01I like it.
23:02Well, it was a pleasure seeing you again.
23:12Sorry.
23:13You know, this is probably an imposition,
23:16but there's a concert tomorrow, actually.
23:19It's just a small thing, but it's quite fun
23:20and you and your husband would be very welcome.
23:23Well, my husband's away, so...
23:24Yes, of course.
23:26You said.
23:28Well, you could come.
23:31I'll save your table.
23:31It's at Schumann's.
23:32Do you know it?
23:33Yes.
23:33Well, I could tell you all about the school and the performance.
23:35A couple of glasses of schnapps.
23:37I'm sure you could even raise that fee by a bit.
23:41Yes, well...
23:43Maybe.
23:46Maybe.
23:46Maybe I'll come.
23:48Ah.
23:49It's perfect.
23:51Send a call out for musicians.
23:52Get them here within the week.
23:53You think they'll all come?
23:55Just tell them that Mozart and de Ponte
23:56have written the greatest opera
23:58they'll ever have the chance to perform,
24:00and then they'll come.
24:01This will be, um, worth it, won't it?
24:04Doing this.
24:05Yes, I think she'll like it.
24:07Um, I was more talking about
24:09whether its artistic merits
24:10might be enough to keep us out of jail
24:12for disobeying the emperor.
24:13Mmm.
24:14Well, that's part of the fun.
24:16It's part of the fun.
24:17That is part of the fun.
24:19Okay.
24:20Okay, all right.
24:22We'll take it.
24:32My darling Constanza,
24:33we have stopped in a small town
24:35for a few weeks
24:36in the hope of finding our opera.
24:38And all of the pieces
24:39are fitting into place
24:40in ways even better
24:41than I could have hoped.
24:43And I feel so strongly
24:44that when you listen to this opera,
24:46you'll see what's in my heart.
24:47in ways that I hope
24:50you'll truly understand.
24:52I miss you.
24:54And I love you.
24:55And I look forward to when we are together.
24:56Thank you, ladies and gentlemen.
25:11Thank you, ladies and gentlemen.
25:15Now, for this next performance,
25:28I need a female voice.
25:31Who can sing here?
25:31Who do we know?
25:32Me!
25:32Madam, what about you?
25:39No.
25:40Of course.
25:41Go on.
25:54You can.
25:57Yes.
25:59Do you have a listen?
25:59Yeah.
26:14Soon after all, I will be afraid of all the pain
26:19I will breathe from the blood
26:29If I have my heart and hand with the years
26:35If I have my heart and hand with the years
26:42So you'll never be a prima donna, so what?
26:44Amesio Cosopano, in a family full of coloratures
26:48That wouldn't bother you
26:50Bother me a little bit
26:51And then marry a prodigy and see how that feels
26:54Your husband is exceptional
26:56That's one word for him
26:59Also useless, chaotic, and no one knows what to do with him
27:03They can't rely on him, but they can't let him go
27:06He's just like a moth dancing around in a lamp
27:11And he'll either fly away or he'll burn
27:14And me with him
27:17What?
27:19A moth in a lamp
27:21It's a metaphor
27:22It's a good one
27:23Shut up
27:25How long is he away for?
27:27I don't know
27:29I got a letter from him saying they'd find a rehearsal space in Trebidge
27:32At the end of the month
27:34I think they plan to stay there until November at least
27:36Where the hell's Trebidge?
27:38No idea
27:42November's a long time to be alone
27:44Yes it is
27:54Trebidge
27:55They've booked a rehearsal space there for the end of the month
27:58Kabelmeister, I hope you don't mind me questioning you, but I
28:03Well, I don't want to feel as if I'm engaging in subterfuge
28:08Oh, Franz, I care deeply for Mozart
28:11He has the artist's proclivity for self-destruction
28:14It's my job as Kabelmeister and his friend
28:17To make sure he doesn't indulge those instincts
28:21You can clear your conscience
28:24By helping me, you are helping him
28:27And his wife as well
28:29My wife as well
28:44Well, baby
28:50I miss you
28:51Do you still listen to me sing?
28:59I hope so
29:21You must practice, princess
29:27I don't like to
29:31Well, I'm sure
29:33You
29:34Could think of a way to help me remember it all
29:41Without the work
29:42Without the work?
29:50Would you like it?
29:53My uncle got it for me
30:08Ow!
30:12There, I've made a little map for you
30:25Don't play with me
30:26I never play games I can't win
30:31When's Wolfgang coming back?
30:33Oh!
30:34He's not
30:38Hi there, hi, nice to see you
30:39Thank you so much
30:40Please, that's Lorenzo
30:43Hello!
30:44Hi sir
30:45Welcome
30:46Singers over there with Lorenzo
30:47Hi, hello
30:49Viola, you still on the viola, sir?
30:51Everyone, go to the pillow
30:53Okay
30:56Alright
30:57Thank you everybody
30:59For travelling all this way
31:01You're probably wondering why the clandestine nature of this whole affair
31:05Well
31:07Lorenzo and I have a confession to make
31:08We're not just asking you here
31:09We're not just asking you here to be co-collaborators on this opera
31:12We're also asking you to be co-conspirators
31:15What we're rehearsing today is a version of The Marriage of Figaro
31:19Just give us a few hours of your time
31:24And if at the end of the rehearsal you want to leave
31:27You can leave
31:29Well, here we go
31:30Here we go
33:01I wanted to come and tell you I'm leaving.
33:07For a bit.
33:10I see.
33:12I didn't want you to think that I just disappeared.
33:15No.
33:15No, no, that's very kind of you.
33:21I will be back in Vienna on the 10th of December.
33:24Your husband will...
33:25He'll be back.
33:26Yes.
33:26Yeah.
33:27I thought maybe I would visit the St. Michael's Church on the evening I return.
33:37If someone wanted to find me alone, that's where I'd be.
33:43Why are you telling me that?
33:51Because I think I would go mad if I didn't.
33:52I think I would go mad.
33:53Yes.
33:53Yes.
33:54Absolutely.
33:54There you go.
33:55No.
33:55No.
33:56No.
33:57No.
33:57No.
33:57I don't know.
34:57I merely require two minutes of his majesty, sir.
35:12I'm afraid it's just not possible.
35:14Oh man, I have a weekly routine with the emperor whereby I try to teach him the fortepiano
35:19and he resolutely fails to retain a single piece of my knowledge.
35:22Now we do this every Thursday at this time.
35:24Now if he is too busy...
35:26Salieri, it is simply not possible...
35:27I am the Kappelmeister of the court of Emperor Joseph II and I...
35:32Antonio.
35:33Your Majesty, I do apologise for this cacophony.
35:36Yes, come in.
35:37There's no time for a music lesson today, I'm afraid, Antonio.
35:47The Ottomans have provoked Russia into war and we are treaty-bound to defend them with everything
35:52that we have.
35:53Revolution brewing in the Netherlands, Prussians sabre-rattling at the north, there could hardly
35:58be a more inopportune time for a war.
36:00I have no experience of war.
36:02Possibly.
36:03Hmm.
36:04I should hope you never will.
36:06What was it that you wanted to speak to me about?
36:08I have heard word of a banned opera being ready for performance.
36:21Banned opera?
36:22Yes.
36:23The Marriage of Figaro.
36:24Your Majesty.
36:25You banned it yourself.
36:26No memory, then?
36:27What's it about?
36:28Adultery, sin, betrayal, upper classes being depicted as fools, working poor, their betters...
36:32Who wrote it?
36:33Mozart.
36:34And the librettus?
36:35Du Ponte.
36:36I thought he was doing yours.
36:37No.
36:38Right, so it'll be in Italian.
36:39The only people who will understand it are the aristocrats.
36:40They're hardly likely to start a revolution, are they?
36:41Look, Antonio, I don't recall banning this play.
36:42I also don't recall its title being used as the primary motive in any peasant uprisings
36:43that may be occurring.
36:44Let them put it on.
36:45Go with Van Sweeten to the opening night.
36:46If the audience are moved to leave the theatre and march on the palace demanding my head,
36:47then you have my permission to shut it down.
36:48What is that?
36:58It's time to...
37:05I don't know.
37:07Sansa, I'm back.
37:22You awake?
37:37Sansa, I need to leave.
37:50I'll meet you there.
37:52Pardon?
37:53I'll meet you there.
37:56All right.
38:07I'll meet you there.
38:37Wolfgang, Wolfgang, I'll meet you backstage.
38:49Five minutes, five minutes.
38:51You all right?
38:53Hmm?
38:53Are you all right?
38:54Yes.
38:55Constanator isn't here yet, sir.
38:56I need...
38:58Listen to me.
38:59I quit the Kapelmeister's opera to do this because I believe in it.
39:04And I believe in you, but it does need to go well.
39:06You understand?
39:07Yes.
39:07Now, what do we say?
39:09We say, fuck them all.
39:11Yes?
39:11Fuck them all, yes.
39:13Fuck them all.
39:13Good boy.
39:15No.
39:15What are you doing?
39:16Turn around.
39:17Sorry.
39:18Sit down.
39:19Just a shake.
39:20I'll do it.
39:21I'm going to do it.
39:21I'm going to do it.
39:31All right.
39:34Easy.
44:34Our emperor rides to war and you incite a mob.
44:39You couldn't hear it, could you?
44:45You couldn't hear it, could you?
44:46You never could.
44:49You never could.
44:57Shame, you know.
45:05Shame, you know.
45:18I'm starting to enjoy it.
45:20I'm starting to enjoy it.
45:24I'm saying, we're out of here.
45:34I'll see you next time.
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