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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 to go.
00:30How is 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 the 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, too.
01:12The emperor slaps the faces of the aristocracy, asks us to turn the other cheek and thank him.
01:17Hello.
01:18Hello.
01:19Hi.
01:19I 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.
01:54Poor composer.
01:55What happened to your eye?
02:08Oh.
02:09Slip 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.
02:21Operatic tragedy?
02:22Well, it's been at least five minutes since the last one.
02:24The Librettus?
02:26The Ponte.
02:28Oh, feckless creature.
02:30Lorenzo 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.
02:51I 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.
03:05Well, I think his talents may be outweighed by his...
03:08Eccentricity?
03:09The 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.
03:24As varsityi might be a charm.
03:37They wanted me to check my blocks.
03:38...
03:39I don't know.
03:39You and Jay activists are inong.
03:41Youikan to strip the entrance.
03:43I can kill your duty.
03:44Youikan to strip the entrance.
03:46Stop!
03:47Cheers!
03:47Cheers!
03:48Cheers!
03:48Cheers!
03:48Cheers!
03:48Cheers!
03:49Cheers!
03:50Cheers!
03:51Cheers!
03:51Cheers!
03:52Cheers!
03:53We're going to need a new Kappelmeister.
04:17Our new Kappelmeister.
04:19Congratulations.
04:21So, how does it feel?
04:25No different.
04:26You have all of Vienna and its musicians in your palm.
04:28You must feel something.
04:30We'll have to be quick today.
04:31I have a lot of meetings.
04:32Will you still be able to tutor me?
04:34Well, that Kappelmeister has to be very selective
04:38over who he keeps in his inner circle.
04:42I am going to have to let a lot of my pupils go.
04:45But you, Katerina, you,
04:49I intend to keep
04:51in my palm.
04:53Katerina, you, I do not know.
04:55I am going to have to let a lot of people go.
04:57I am going to have to let a lot of people go.
04:59I am going to have to let a lot of people go.
05:01Katerina, you, I do not know.
05:06I am going to have to let a lot of people go.
05:08Can 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
05:39There we are, sir
05:41I love it
05:42Anton, that sounds a bit flat to me
05:45We've made Cellieri Peppelmeister, did you hear?
05:49I wish I mentioned it 89 times, yes
05:51He's actually summoned me to go meet with him
05:54What's he want?
05:55No, Anton, that's sharp now
05:57Just go through it all again, I think, please
05:58I 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
06:04There was a boy at our party a few weeks ago
06:08He'd been at Raymond's Mass
06:10Right
06:11You remembered hearing me sing?
06:17Hadn't been able to stop thinking about it
06:19Yes, well, it was a good piece and all that, wasn't it?
06:23I was just thinking about doing it again
06:24Doing?
06:26Singing
06:27Oh, I was in, uh, professionally
06:30Well, I was a good enough soprano when I was younger
06:33There are roles out there
06:35In my range
06:36I mean
06:37Yes
06:38Yes, no, it's just singing in Mass is one thing
06:41But opera's kind of weeks on end, sometimes months
06:44See you later
06:49Mozart, come in, come in
07:07Oof, I was very sorry to hear about Bono
07:11Oh, yes, yes
07:13Terrible
07:14Makes one wonder, doesn't it?
07:16All this chaos, what God's plan might be
07:21Mm-hmm
07:22Yes, now, your new commission
07:24Um, I had to petition hard for you
07:27Uh, there are still some at the court who needed persuading
07:31I don't wish to speak ill of the dead
07:34But I think that Bono's passing may have been a benefit to you
07:39If you take my meaning
07:41Yes, absolutely, no, yes
07:43Of course
07:43And, uh, believe me, I'm grateful for everything
07:46I really am
07:47Still, what's the theme?
07:50General idea of the thing
07:51No idea, I'm afraid
07:53I'm still working on that
07:54Really?
07:56Well, we were all thinking something a little fantastical
07:59Fantastical?
08:01Gods, angels, kings, knights
08:03That sort of a thing
08:05Bit of a spectacle
08:06The Emperor wants crowd-pleases
08:08Do you understand?
08:08No, thank you, no
08:09I think people are bored of that now
08:11I was imagining, if anything, something
08:13A little bit more sort of real life
08:15You know, just sort of relatable
08:17What's that?
08:21Audiences don't come to the opera
08:23To see relatable characters
08:25They come to be inspired
08:26Yes, I think I can do both
08:29Of course you can
08:32I have, uh, given you the librettus Argenti
08:39Argenti?
08:41Mm-hmm
08:41What are you joking?
08:44Am I writing a birthday card?
08:46Or a sing-spiel for three-year-olds?
08:48Argenti is a more than confident librettist
08:50Argenti can barely spell librettist
08:52He's a moron
08:53Be that as it may
08:54Everyone else is
08:55Is busy
08:57Oh, and I almost forgot
08:59The Emperor wants this before Christmas
09:01Before Christmas?
09:02Yes, I'm sorry
09:03I hope that won't be a problem
09:04Not for me
09:05But I suppose I better tell Argenti
09:07To start sharpening his quill
09:08Hopefully he won't accidentally
09:09Stab himself up the arsehole with it
09:10Good
09:11Well, uh, let me know to the feed
09:14As soon as possible
09:15Of course
09:16And my best to Constanz
09:17Thank you so much
09:19I want to know what it's like
09:32To make something beautiful
09:33I'm reading the most wonderful
09:40Book
09:41It's a play
09:43It's banned, you know
09:44Banned by whom?
09:47My uncle, obviously
09:48What's it about?
09:53Marriage
09:54Lust
09:56A desire
09:58A desire
09:58That lies in truth
10:01Why has the Emperor banned this book?
10:06He thinks it's dangerous
10:07Sounds so silly, doesn't it?
10:10Being afraid of something like a book or a song
10:13Well
10:13Words can be dangerous
10:16Perhaps
10:19Perhaps
10:19I quite like danger
10:20If I don't get what I want
10:26I get bored
10:28I hate getting bored
10:30Well
10:32Sometimes
10:34Life is boring
10:35So
10:36If you can't give me what I want
10:39Then
10:40I 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
10:48What are you going to do without me?
10:53Beg on the street?
10:54I'll make you back
11:00I'll make you back
11:03This is a banned play
11:23It's banned
11:24Because there's truth in it
11:25It's banned
11:26Because it depicts the servants as smarter than the masters
11:29Which they are
11:29Let me say
11:30As a particularly smart servant myself
11:32You should find a different story
11:34Okay
11:34Let me play you something
11:36Something of what?
11:37Of this
11:37I've already started writing it
11:39I can't stop thinking about it
11:40Well, 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
11:48Thank you
11:50But I told you
11:51I'm spoken for
11:52And my other half
11:52Gets very jacked
11:53Do you really want to spend the rest of your life
11:55Writing 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
12:02Come on
12:03One aria
12:04All right
12:04What do you mean you're quitting?
12:08I've promised my services to another composer
12:11Who?
12:13Mozart
12:13But you're working for me
12:15Yes
12:16No
12:16Um
12:17It's just
12:17No
12:18Um
12:18It's just
12:19What?
12:22He played me some of it
12:24Well
12:33Well I suppose you could work on both at once
12:35Well that won't be possible
12:36Why not?
12:38You're leaving Vienna?
12:40Just until we finish writing it
12:41Yes
12:41We?
12:42Me and De Ponte
12:43Why can't you write it here?
12:44Because if anybody finds out about what we're doing
12:46They'll shut a stand
12:47What are you talking about?
12:47What is this opera?
12:49It's a secret
12:49Stand up
12:50I don't understand
12:50Look
12:51This is how we have to do it
12:53It can't be ruined
12:54It's very
12:54You know
12:55It's very delicate
12:55Okay
12:56I can't explain it to you
12:57No
12:57No you can't
12:58And the Princess Elizabeth
13:00Her lessons
13:00I don't know
13:02It's probably good that we have some time apart frankly
13:04Time apart?
13:05What do you mean time apart?
13:06What happened?
13:09Oh
13:09No nothing's happened
13:10Those lessons are important
13:11I worked
13:12We worked really hard to get you that job
13:13I can't be thinking about fucking music lessons
13:16Okay
13:16I have to do this
13:18I have to do it
13:19Yes you have to leave
13:20Yes
13:20Well yes
13:22Will you be back next month?
13:28I don't know
13:29Probably not
13:30Why?
13:32It'll be Raymond's anniversary
13:34But I will lay flowers on your behalf
13:39Shall I?
13:50Good afternoon
13:51Good afternoon sir
13:52Fuck
13:53Fuck
13:54Fuck
13:55Fuck
13:58Fuck
13:58Fuck
14:00Fuck
14:00Fuck
14:00Fuck
14:01Fuck
14:02Fuck
14:02Fuck
14:03Fuck
14:03Fuck
14:03Fuck
14:04Fuck
14:04Fuck
14:04Fuck
14:05Fuck
14:05Fuck
14:06Fuck
14:06Fuck
14:07Fuck
14:07Fuck
14:08Fuck
14:08Fuck
14:09Fuck
14:09Fuck
14:10Fuck
14:10Fuck
14:11Fuck
14:11Fuck
14:12Fuck
14:12Fuck
14:13Fuck
14:13Fuck
14:14Fuck
14:14Fuck
14:15Fuck
14:16Fuck
14:16Fuck
14:17Fuck
14:17Fuck
14:17Fuck
14:18Fuck
14:18Fuck
14:18Fuck
14:19Fuck
14:19Your Majesty, I have some rather unfortunate news.
14:36You'll remember how it follows insistence Mozart was given another opera commission.
14:40Well, he's stolen my librettus, you see, and what's more, he's refusing to reveal what
14:44his opera is even about.
14:47Your Majesty, what happened?
14:50One of the dogs bit me, tried to stop it mauling the stay.
14:54Stupid.
14:55Bono didn't commission Mozart, I did.
14:58Aren't there enough librettists in this downtown to go around to put your share?
15:03Of course, of course we can.
15:05There is, however, another matter, a more sensitive matter, I thought you should be aware of.
15:11There are rumours that Mozart may have been indelicate with the princess.
15:17Indelicate?
15:18Well, I've been whipped.
15:19Oh, no, Justice Banner, sir, nothing that would have crossed that line.
15:24I assure you, but even so.
15:26Um, yes, no, we can't have any suggestion of impropriety, especially even her temperament.
15:32We can have him quietly removed from a position, no need for a scandal, and I can find somebody
15:38more appropriate to tutor her, a fisher 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 as it is right now.
15:48Of course.
15:48And then, the opera.
15:50You're the capital master now, Salieri.
15:52If one of your composers is writing a secret opera, it is up to you to find out what it
15:55is before whining to me about it.
15:56I'll wash this shit off him.
16:05Amadeus!
16:06Amadeus!
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, they lose each other, then they find each other again.
16:51It's complicated.
16:53You need to capture the spirit.
16:54Um, the marriage of Figaro.
16:57Yes.
16:59How's the marriage of Mozart?
17:00Okay, look.
17:01Pull me another trick.
17:02Pull me another trick.
17:03Oh, sorry.
17:04Come on.
17:05Come on.
17:06Wolfgang, you dragged me away from Vienna to write an illegal opera with you.
17:08I was under the impression that we'd at least be very drunk.
17:36I'm trying to work out the 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.
17:46You know, and give him a false hope, a false promise.
17:48Deception.
17:50Deception.
17:50Betrayal.
17:51Forgiveness.
17:53Forgiveness.
17:53Forgiveness.
17:53Forgiveness is good.
17:56Yeah, forgiveness is good.
17:57Okay, yes.
17:58Feeling of forgiveness.
18:00Wolfgang, I'm going to invite some girls over now.
18:03Uh-huh.
18:03You could just put a pin in the opera chat for five minutes.
18:06Uh-huh.
18:07Susanna and the Countess have started working together.
18:09That's why Susanna goes to the Count.
18:11But she needs to convince him that she does love him.
18:13And that's all part of this amusing plot.
18:15And it's like, oh, finally, Trudel.
18:17Why did you make me wait so long?
18:20You know, um, I was a priest in Venice.
18:23And how's it end?
18:24The opera.
18:25Uh, well, 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, thank 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, you just told us all about your opera.
18:41You have to play the sun.
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 and fuck someone!
19:08That's the duet from the third act.
19:10I didn't actually think you were going to play me your opera.
19:16Yes.
19:19Yes.
19:21Go.
19:22It was very nice, though.
19:26And you're writing it for your wife?
19:29Yes.
19:32You could just talk to her.
19:34This is how I talk.
19:43Well, they better be good, then.
19:46Yes.
19:46Yes.
20:05Yes.
22:06Oh, that's a shame. I'm here on behalf of the Royal Viennese School of Music, you see. We've been writing to him about performing for the school.
22:15You should come in.
22:16Oh, I shouldn't.
22:17You'll get washed away.
22:20Come in.
22:22So this performance?
22:24For the school? I mean, it would just need to be a half an hour, just some works on the fortepiano, maybe the viola, whatever he wanted.
22:33Two florins.
22:34Two florins.
22:36For an hour, yes. Doesn't do half-hour concerts. My husband is a royally commissioned opera composer and erstwhile tutor to the Princess Elizabeth.
22:44If you require a quartet, we'll source musicians for 15% cut of each of their fees.
22:47Yes, of course. I 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.
22:56Is that a problem?
22:59No.
23:00No, not at all.
23:01I like it.
23:05Well, it was a pleasure seeing you again.
23:12Sorry.
23:13You know, this is probably an imposition, but there's a concert tomorrow, actually.
23:18It's just a small thing, but it's quite fun, and you and your husband would be very welcome.
23:23Well, my husband's away, so...
23:24Yes, of course.
23:26You said.
23:28Well, maybe you could come.
23:31I'll save your table. It's at Schumann's. Do 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. I'm sure you could even raise that fee by a bit.
23:41Yes, well...
23:43Maybe.
23:45Maybe. Maybe I'll come.
23:48Ah.
23:50It's perfect.
23:51Send a call out for musicians. Get them here within the week.
23:53Don't you think they'll all come?
23:54Just tell them that Mozart and de Ponte have written the greatest opera they'll ever have the chance to perform, and then they'll come.
24:01This will be, um, worth it. Won't it? Doing this.
24:05Yes, I think she'll like it.
24:06Um, I was more talking about whether its artistic merits might be enough to keep us out of jail for disobeying the emperor.
24:13Hmm. Well, that's part of the fun.
24:16It's part of the fun.
24:18That is part of the fun.
24:19Okay.
24:20Okay, all right. Thank you.
24:22We'll take it.
24:23My darling Constanza, we have stopped in a small town for a few weeks in the hope of finding our opera.
24:37And all of the pieces are fitting into place in ways even better than I could have hoped.
24:43And I feel so strongly that when you listen to this opera, you'll see what's in my heart in the end of this.
24:49In ways that I hope you will truly understand.
24:52I miss you.
24:53I love you.
24:54And I look forward to when we are together.
25:07Bye.
25:07Thank you, ladies and gentlemen.
25:26Now, for this next performance, I need a female voice.
25:31Who can sing here? Who do we know?
25:32Me!
25:32Madam, what's about you?
25:39No.
25:52You too?
25:57Yes.
25:59Do you know this one?
26:01Mm-hmm.
26:02Bald wird sich auch dieses wügen, dass wir einzeln Zimmer sind.
26:14Bald fällt ich trotz aller Neide, freier Atmen von der Brust.
26:25Wenn ich dir mein Herz und Hand mit dem Jahrhut zu gewandt.
26:35Wenn ich dir mein Herz und Hand mit dem Jahrhut zu gewandt.
26:41So you'll never be a prima donna, so what?
26:44Amizio Cosopano, in a family full of coloratures.
26:48That wouldn't bother you.
26:50It would bother me a little bit.
26:51And then marry a prodigy and see how that feels.
26:53Your 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.
27:13And me with him.
27:17What?
27:19A moth in a lamp.
27:20Mm-hmm.
27:21It's a metaphor.
27:22It's a good one.
27:22Shut 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 till November, at least.
27:36Where the hell's Trebidge?
27:38No idea.
27:40Hmm.
27:42November is a long time to be alone.
27:44Hmm.
27:45Yes, it is.
27:54Trebidge.
27:56They've booked a rehearsal space there for the end of the month.
28:01Kabelmeister, 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.
28:09Oh, Franz, I care deeply for Mozart.
28:12He 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.
28:22You can clear your conscience.
28:25By helping me, you are helping him.
28:28And his wife as well.
28:29Well, baby.
28:49I miss you.
28:50Do you still listen to me sing?
28:59I hope so.
29:00I hope so.
29:00You must practice, princess.
29:27I didn't like to.
29:28I'm sure you could think of a way to help me remember it all.
29:41Without the work?
29:50Would you like it?
29:53My uncle got it for me.
29:54I've made a little map for you.
30:22I've made a little map for you.
30:22Don't play with me.
30:26I never play games I can't win.
30:30When's Wolfgang coming back?
30:33Oh, he's not.
30:34Hi there.
30:38Hi, nice to see you.
30:39Thank you so much.
30:40Please, that's Lorenzo.
30:41Hi, sir.
30:44Welcome.
30:45Singers over there with Lorenzo.
30:47Hi, hello.
30:48Hi, yes.
30:49Uh, viola, you still on viola, sir?
30:50Okay, so everyone go to the pillow.
30:53Okay.
30:53All right.
30:54All right.
30:56Thank you, everybody, for traveling all this way.
31:01You're probably wondering why the clandestine nature of this whole affair.
31:04Yeah, well, Lorenzo and I have a confession to make.
31:08We're not just asking you here to be co-collaborators on this opera.
31:12We're also asking you to be co-conspirators.
31:16What we're rehearsing today is a version of The Marriage of Figaro.
31:18Just give us a few hours of your time, and if at the end of the rehearsal you want to
31:26leave, you can leave.
31:29Well, here we go.
31:30Oh, here we go.
32:00Oh, here we go.
32:30Oh, here we go.
32:50I was just passing.
32:53Well, no, actually, I never passed by here.
32:56To master my apartment is extremely inconvenient.
32:58But I came because I 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.
33:17No, no, that's very kind of you.
33:20I will be back in Vienna on the 10th of December.
33:24Your husband will be back.
33:26Yes.
33:26If.
33:29I 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.
33:45Why are you telling me that?
33:50Because I think I would go mad if I didn't.
33:52Why are you telling me that?
33:59I don't know.
34:01I don't know.
34:02I'll be back.
34:02Oh, wow.
34:06I don't know.
34:12It's all I want is come to know.
34:12I don't know.
34:42I merely require two minutes of his majesty, sir.
35:11I'm afraid it's just not possible.
35:14Young 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...
35:25Dear Salieri, it is simply not possible.
35:27I'm the campelmeister of the court of Emperor Joseph II, and I...
35:32Antonio.
35:33Your majesty, I do apologize for this cacophony.
35:36Yes, come in.
35:41There'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.
35:52With everything that we have...
35:53Revolution brewing in the Netherlands,
35:56Prussians saber-rattling at the north,
35:58there could hardly be a more inopportune time for a war.
36:01I have no experience of war.
36:02I should hope you never will.
36:07What was it that you wanted to speak to me about?
36:11Yes, um...
36:16I have heard word of a band opera being ready for performance.
36:22Band opera?
36:23Yes.
36:23The marriage of Figaro, your majesty.
36:25You banded yourself.
36:27No memory, but what's it about?
36:28Adultery, sin, betrayal, upper classes being depicted as fools,
36:31are working poor, they're betters.
36:33Who wrote it?
36:34Mozart.
36:36And the librettist?
36:38Du Ponte.
36:39I thought he was doing yours.
36:41No.
36:42Right, so it'll be an Italian.
36:43The only people who will understand it are the aristocrats.
36:45They're hardly likely to start a revolution, are they?
36:47Antonio, I don't recall banning this play,
36:49but I also don't recall its title being used as the primary motive
36:52in any peasant uprisings that may be occurring.
36:55Let them put it on, go with Van Sweeten to the opening night,
36:57if the audience are new,
36:59to leave the theatre and march on the palace demanding my head,
37:01then you have my permission to shut it down.
37:18Stanza, I'm back.
37:22You awake?
37:23Stanza, I need to leave.
37:50I'll meet you there.
37:52Pardon?
37:53I'll meet you there.
37:56All right.
37:57The next time...
38:00I'll meet you there.
38:02I'll meet you there.
38:03Thanks, Dan.
38:03The next time...
38:04Oh, excuse me.
38:42Wolfgang.
38:43Wolfgang.
38:44It's backstage.
38:48Five minutes.
38:50Five minutes.
38:51Five minutes.
38:52You all right?
38:53Hm?
38:54Are you all right?
38:55Yes.
38:56Constander isn't here yet, sir.
38:57I need...
38:58Listen to me.
38:59I quit the Capelmeister's opera to do this because I believe in it.
39:04And I believe in you.
39:05But it does need to go well.
39:06You understand?
39:07Yes.
39:08Now, what do we say?
39:09We say, fuck them all.
39:11Yes?
39:12Fuck them all.
39:13Yes.
39:14Fuck them all.
39:15Good boy.
39:16Can we turn around?
39:17Hey, sorry.
39:18Sit down.
39:19She's the chair.
39:20She's the chair.
39:21She's the chair.
39:22She's the chair.
39:23Big these inflammations.
39:24Oh, no.
39:30Wahoo!
39:31Ah!
39:32Really?
39:34You don't even care.
39:35th-
42:44He had secured greatness, who written himself for mortal.
42:49Well, I said nothing.
43:22Hey, what are you doing?
44:40You couldn't hear it, could you?
44:46You never could.
45:06Shame, you know, I'm starting to enjoy it.
45:12Shame, you know, I'm starting to enjoy it.
45:19I'm starting to enjoy it.
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