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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.
03:24Help!
03:45Help!
03:46We're going to need a new couple, Meister.
04:16Our new Kappelmeister. Congratulations.
04:22So, how does it feel?
04:24No different.
04:26You have all of Vienna and its musicians in your palm. You must feel something.
04:30We'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.
05:15I am going to have to let a lot of people go.
05:24I am going to have to let a lot of people go.
05:28Can you imagine choking to death with beef of all things?
05:37What's wrong with beef?
05:38Well, I can think of better things to choke on.
05:40There we are, sir.
05:41I love it.
05:42Anton?
05:43That sounds a bit flat to me.
05:45We've made Cellieri Kappelmeister, did you hear?
05:49I wish I mentioned it eight or nine 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.
05:57Just go through it all again, I think, please.
05:59I think he wants to talk to me about the new opera.
06:02Rosenberg 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.
06:11You 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?
06:22I was just thinking about doing it again.
06:25Doing?
06:26Singing.
06:27Oh, as in, uh, professionally?
06:30Well, I was a good enough soprano when I was younger.
06:34There are roles out there, in my range, for me.
06:38Yes.
06:39Yes, no, it's just singing in Mass is one thing, but opera's kind of weeks on end, sometimes
06:44months.
06:49See you later.
07:05Mozart!
07:06Come in, come in.
07:09Oof.
07:10I was very sorry to hear about Bono.
07:12Oh, yes, yes.
07:13Terrible.
07:14Makes one wonder, doesn't it?
07:17All this chaos, what God's plan might be.
07:22Yes, now, your new commission.
07:25Um, I had to petition hard for you.
07:28Uh, there are still some at the court who needed persuading.
07:32I 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.
07:41Yes, absolutely.
07:42No, yes.
07:43Of course.
07:44And, uh, believe me, I'm grateful for everything.
07:46I really am.
07:47Still, what's the theme?
07:49General idea of the thing?
07:51No idea, I'm afraid.
07:52I'm still working on that.
07:54Really?
07:55Well, we were all thinking something a little fantastical.
07:59Fantastical?
08:00Eh, gods, angels, kings, knights, that sort of a thing.
08:05Bit of a spectacle.
08:06The emperor wants crowd-pleasers, if you understand.
08:08No, thank you, no.
08:09I think people are bored of that now.
08:11I was imagining, if anything, something a little bit more sort of real life.
08:15You know, just sort of relatable.
08:19Well, sorry.
08:21Audiences don't come to the opera to see relatable characters.
08:24They 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.
08:42Are 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, everyone else is 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, but I suppose I'd better tell Argenti to start sharpening his quill.
09:08Hopefully he won't accidentally stab himself up the arsehole with it.
09:10Good.
09:11Well, uh, let me know the feed.
09:12Soon as possible.
09:13Of course.
09:14And my best to Constanza.
09:15Thank you so much.
09:16I want to know what it's like to make something beautiful.
09:31Hmph.
09:32I'm reading the most wonderful book.
09:33It's a play.
09:34It's a band, you know?
09:35Banned by whom?
09:36My uncle, obviously.
09:37What's it about?
09:38A marriage.
09:39A lust.
09:40A desire.
09:41A desire.
09:42It lies and truth.
09:43Why is the emperor banned this book?
09:44He thinks it's dangerous.
09:45Sounds so silly, doesn't it?
09:46It's a book.
09:47It's a book.
09:48It's a play.
09:49It's a band, you know?
09:50Banned by whom?
09:51My uncle, obviously.
09:52What's it about?
09:53A marriage.
09:54A lust.
09:55A desire.
09:56A desire.
09:57A desire.
09:58A desire.
09:59A desire.
10:00A desire.
10:01A desire.
10:02A desire.
10:03A desire.
10:04A desire.
10:05A desire.
10:06A desire.
10:07A desire.
10:08A desire.
10:09A desire.
10:10Not yet.
10:11Being afraid, something like a book or a song.
10:13Well, words can be dangerous.
10:17Perhaps.
10:19I quite like danger.
10:24Claim Tears.
10:25If I don't get what I want, I get bored.
10:29I hate getting bored.
10:31Well, sometimes life is boring, so...
10:37If you can't give me what I want,
10:39want then I don't see there's any point in you being my tutor anymore I don't
10:45think you can afford to lose me I mean what are you gonna do without me beg on
10:54the street
11:22this is a band play it's banned because there's truth in it it's banned because it depicts the
11:27servants as smarter than the masters which they are as a particularly smart servant myself you
11:32should find a different story okay let me play you something something of what of this I've
11:38already started writing it I can't stop thinking about it well try harder come on no one aria one
11:45aria that's the deal come on to what end because you are gonna be my librettist thank you but I
11:50told you I'm spoken for and my other half gets very jacked you really want to spend the rest of
11:54your life writing milk toast operas for Kapelmeister Salieri yes don't you ever just want an easy life
12:01no not at the expense of the music come on one aria all right what do you mean you're quitting
12:06I've promised my services to another composer who Mozart but you're working for me yes no um it's just no um it's just what
12:20well I suppose you could work on both at once well that won't be possible why not you're leaving
12:39Vienna just until we finish writing it yes we mean to Ponte why can't you write it here because if anybody
12:45finds out about what we're doing they'll shut us down what are you talking about what is this opera
12:48it's a secret I don't understand look this is how we have to do it it can't be ruined it's very
12:54you know it's very delicate okay I can't explain it to you no no you can't and and the princess
12:59Elizabeth her lessons I don't know it's probably good that we have some time apart frankly
13:04time apart what do you mean time apart what what happened oh no nothing's happened those lessons
13:11are important I worked we worked really hard to get you that job I can't be thinking about
13:15fucking music lessons okay I have to do this I have to do it yes you have to leave yes well yes
13:22will you be back next month I don't know probably not why
13:30it'll be Raymond's anniversary
13:34but I will lay flowers on your behalf shall I
13:40good afternoon sir
13:51good afternoon sir
13:54you
13:58you
14:00got
14:15good
14:16good
14:17good
14:18Your Majesty, I have some rather unfortunate news.
14:36You'll remember how at Bono's 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.
14:46Your 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.
14:58Aren't there enough librettists in this damn town 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.
15:10But there are rumours that Mozart may have been indelicate with the princess.
15:17Indelicate?
15:18Well, I've been whipped.
15:19Oh, no.
15:21Justice Banner, sir.
15:22Nothing that would have crossed that line, I assure you.
15:25But even so.
15:26Well, yes, no, we can't have any suggestion of impropriety, especially even her temperament.
15:33We can have him quietly removed from the position, no need for a scandal, and I can find somebody
15:38more appropriate to tutor 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 on 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.
15:57I'll wash this shit off me.
16:06Amadeus!
16:07Amadeus!
16:14Jesus Christ, are you working?
16:32We're 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.
16:53We need to capture the spirit.
16:54Um.
16:55The marriage of Figaro.
16:57Yes.
16:59How's the marriage of Mozart?
17:00Okay, look.
17:02Pour me another drink.
17:02Oh, sorry.
17:12Come on.
17:12Wolfgang, you dragged me away from Vienna to write an illegal article.
17:15I was under the impression that we'd at least be very drunk.
17:36Very drunk.
17:37I'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, will you?
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.
17:53Forgiveness?
17:54Oh.
17:55Forgiveness 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.
18:07Susanna 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.
18:13That's all part of his amusing plot.
18:15And it's like, oh, finally, Trudel.
18:17Perché finora?
18:18Cuga?
18:19Why did you make me wait so long?
18:20You know, I 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?
18:28Oh, don't say that.
18:31He's so sweet.
18:32He's writing this.
18:33For 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 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 and fuck someone!
18:57Ha-ha!
18:59What?
18:59That's the duet from the third act.
19:11I didn't actually think you were going to play me your opera.
19:13Yes.
19:14Yes.
19:15Yes.
19:16Yes.
19:17Go.
19:18It was very nice, though.
19:19And you're writing it for your wife?
19:20Yes.
19:21Go.
19:22It was very nice, though.
19:26And you're writing it for your wife?
19:28Yes.
19:31You could just talk to her.
19:39Is this how I talk?
19:42Well, they better be good, then.
19:46Yes.
19:46I don't know.
20:01Stand up!
20:28I can't get my heart
20:30I can't get my heart
20:32Stop, stop!
20:58. . .
21:28Hello from Ozark, sorry to stumble you, Francis Meyer, we met a while ago.
21:58Yes, yes, you rescued me from a very boring conversation at a party.
22:01Heck, you 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. I'm here on behalf of the Royal Viennese School of Music, you see.
22:13We'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. I mean, it would just need to be a half an hour.
22:27Just 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 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.
22:53You speak very plainly.
22:58Is that a problem?
22:59No.
23:00No, not at all.
23:01I like it.
23:05Well, it was a pleasure seeing you again.
23:08I'm sorry.
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, 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.
23:39Yes, well, maybe.
23:45Maybe.
23:46Maybe I'll come.
23:48Ah.
23:50It's perfect.
23:51Send a call out for musicians.
23:52Get them here within the week.
23:53Don't you think they'll all come?
23:55Just tell them that Mozart and DuPonté have written the greatest opera they'll ever have
23:59the chance to perform, and then they'll come.
24:01This will be 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
24:12for disobeying the emperor.
24:13Hmm.
24:14Well, 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.
24:22We'll take it.
24:31My darling Constanza, we have stopped in a small town for a few weeks.
24:36The hope of finding our opera.
24:38And 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
24:47in the end of the day.
24:49In ways that I hope you will 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.
25:25Now, for this next performance, I need a female voice.
25:31Who can sing here?
25:31Who do we know?
25:32Me!
25:32Madam, what about you?
25:39No.
25:44You can.
25:46Yes.
25:48Do you have a name?
25:50Yes.
25:54You can.
25:56Yes.
25:58Do you have a name?
26:00Yes.
26:02Bald wird sich auch dieses Wügen, dass wir Einzelzimmer sind.
26:14Bald fällt ich trotz allem Neide, freier Atmen von der Blut.
26:26Wenn ich dir mein Herz und Hand mit dem Jahr wo zu gewandt.
26:36Wenn ich dir mein Herz und Hand mit dem Jahr wo zu gewandt.
26:42So you'll never be a prima donna, so what?
26:44Amizio Casapano, in a family full of cholera turris.
26:48That wouldn't bother you.
26:50It would bother me a little bit.
26:52And then marry a prodigy and see how that feels.
26:54Your husband is exceptional.
26:56Hmm.
26:57That's one word for him.
26:59Also useless, chaotic.
27:01And 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...
27:08a moth dancing round in a lamp.
27:11And he'll either fly away or he'll burn.
27:14And me with him.
27:16What?
27:18A moth in a lamp.
27:20Mm-hmm.
27:21It's a metaphor.
27:22It's a good one.
27:23That's enough.
27:25How long is he away for?
27:27I don't know.
27:28I got a letter from him saying they'd find a rehearsal space in Trebidge.
27:32At the end of the month.
27:33I think they plan to stay there until November, at least.
27:36Where the hell's Trebidge?
27:38No idea.
27:39Hmm.
27:40November's a long time to be alone.
27:43Mm-hmm.
27:44Yes, it is.
27:45Trebidge.
27:46They've booked a rehearsal space there for the end of the month.
27:48Kabelmeister, 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.
28:07Oh, Franz.
28:08I care deeply for Mozart.
28:09He has the artist's proclivity for self-destruction.
28:10It's my job as Kabelmeister and his friend to 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.
28:44Well, baby.
28:49Miss you.
28:52Miss you.
28:53Miss you.
28:54Miss you.
28:55Miss you.
28:56Miss you.
28:57Miss you.
28:58Miss you.
28:59Miss you.
29:00Miss you.
29:01Miss you.
29:02Miss you.
29:03Miss you.
29:04Miss you.
29:05Miss you.
29:06Miss you.
29:07Miss you.
29:08Miss you.
29:09Miss you.
29:10Miss you.
29:11Miss you.
29:12Miss you.
29:13Miss you.
29:14Miss you.
29:15Miss you.
29:16Miss you.
29:17Miss you.
29:18Miss you.
29:19Miss you.
29:20Miss you.
29:21Miss you.
29:22You must practice, princess.
29:27I didn't like to.
29:31I'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.
30:08Ow!
30:10There. I've made a little map for you. Don't play with me. I never play games I can't win.
30:30When's Wolfgang coming back?
30:33Oh. He's not.
30:38Hi there. Hi. Nice to see you. Thank you so much.
30:41Hi, sir.
30:43Welcome.
30:44Singers over there with Lorenzo.
30:46Hi, hello.
30:47Uh, viola, you still on viola, sir?
30:50Everyone go to the pillow.
30:52Okay.
30:53Okay.
30:56All right.
30:57Thank you, everybody, for traveling all this way.
31:01You're probably wondering why the clandestine nature of this whole affair.
31:05Well, 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.
31:19Just give us a few hours of your time, and if at the end of the rehearsal you want to leave, you can leave.
31:29Well, here we go.
31:31The Marriage of Figaro
32:01The Marriage of Figaro
32:06No.
32:07He was the powerhouse
32:09No.
32:11We are possible
32:14We are all theazioni
32:16father
32:21No.
32:22No.
32:28No.
32:30Friends?
32:49Cosenta, I was just passing.
32:53Well, no, actually, I never pass by here.
32:55It's mass from my apartment, 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.
33:21I will be back in Vienna on the 10th of December.
33:24Your husband will be back.
33:26Yes.
33:26Yes.
33:28I 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?
33:46Because I think I would go mad if I didn't.
33:52Because I think I would go mad if I didn't.
33:54Because I think I would go mad if I had to try to find my friend.
34:08I think I would end uporing a woman.
34:08I think I would it either.
34:09I don't know.
34:39I miss you.
35:09I really 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...
35:25Yes, 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.
35:39There'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.
35:54Revolution 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...
36:13I 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, then.
36:27What's it about?
36:28Adultery, sin, betrayal, upper classes being depicted as fools, working poor, their betters.
36:33Who wrote it?
36:34Mozart.
36:35And the librettist?
36:38Du Ponte.
36:39I thought he was doing yours.
36:41No.
36:42Right, so it'll be in Italian.
36:43The only people who will understand it are the aristocrats.
36:45They're hardly likely to start a revolution, are they?
36:47Look, Antonio, I don't recall banning this play.
36:49I also don't recall its title being used as the primary motive in any peasant uprisings that may be occurring.
36:55Let them put it on.
36:56Go with Van Sweeten to the opening night.
36:57If the audience are new to leave the theatre and march on the palace demanding my head,
37:01then you have my permission to shut it down.
37:05Statsa, I'm back.
37:22You awake?
37:23Statsa, I need to leave.
37:50I'll meet you there.
37:52Pardon?
37:53I'll meet you there.
37:56All right.
37:57You awake?
38:17Excuse me.
38:21Here is ice cream station.
38:42Wolfgang. Wolfgang.
38:44It's backstage.
38:46You all right?
38:53Hmm?
38:53Are you all right?
38:54Yes.
38:55Constanza isn't here yet, sir.
38:56I need...
38:58Listen to me.
38:59I quit the Capital Meisters 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.
39:07Now, what do we say?
39:09We say fuck them all.
39:11Yes?
39:11Fuck them all, yes.
39:13Fuck them all.
39:13Good boy.
39:14Okay.
39:15No.
39:15Do me turn around.
39:17Hey, sorry.
39:18Sit down.
45:19I'm starting to enjoy it.
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