- 2 days ago
Category
📺
TVTranscript
00:00language and scenes of a sexual nature from the outset
00:03it's the salieri your bride is on a table we all know how beholden you are to this emperor
00:16a new job has become available i was wondering if you might bring me his manuscript make his
00:21case to the emperor but you are a woman i am a man this is the way of things now
00:26you're so dressed why have you changed your mind very rude john we're gonna run out of students
00:33fight stanza pack your trunk we're going away you are throwing away the gift that god gave you
00:41you selfish little bastard
00:43sir i'm sorry to tell you that your son is dead the master raymond is ready to perform
00:56from this time on we are enemies you and i kill the man
01:10kill the god
01:13what's that you're singing oh it's nothing the tune i heard you go to the concerts i go to casinos
01:38it's usually a string quartet quintet for that one but the tune it's stuck with you i haven't
01:46been able to get it out my head do you know who rose me no i do
01:56keep singing it
02:06second movement
02:11And I'm so done like KFC Majors.
02:18It enters your brain, tumbling into your subconscious like a spell.
02:25Yes.
02:27I didn't come here for absolution, you understand?
02:31Not for pleasure.
02:33I can give you whatever you came here for.
02:36Just keep singing.
02:38You can enchant me like the white paper.
02:41Like Aura.
02:43What would you do if you caught a rat?
02:46Would you be kind with it?
02:48No.
02:49No, you'd want to punish it.
02:51You'd want to hurt it, crush it.
02:55Harder.
03:03Harder, please.
03:08No, no, no.
03:09Never enough.
03:10Never enough.
03:11Never enough.
03:12It's
04:13Did I ever tell you I was a priest at the church of San Luca?
04:17I mean, the whole of Venice is beautiful, assuming you like canals, which I don't, actually.
04:23But I do think I was rather good at the whole priest thing, save for the mistress.
04:28I had two children with her, which, anyway, they defrocked me, if you can believe it.
04:33Banished from Venice.
04:34Yes, I can believe that, actually.
04:35The emperor has constantly performed.
04:38I mean, it's outrageous.
04:39Child labor outlawed.
04:41Peasants allowed to move wherever they want to go.
04:42How is Constanza these days?
04:44She worries sometimes about, you know, my students and so on.
04:47Your students?
04:49Yes, my students are drying up.
04:51Anyway, more importantly, the emperor's commissioned me to write another opera.
04:55I did hear that.
04:56What's it about?
04:57No idea.
04:57I was going to ask you, would you like to be a part of it?
05:01Fancy putting some words to the music?
05:02Well, I'm sorry, darling, but I have another master.
05:07Do you?
05:09That's funny.
05:11He never used to come to these things.
05:13Well, I think they, he's grown something of a dark side.
05:16Do you mean?
05:16Well, I heard that they don't see him much at church on Sundays anymore.
05:20Let's just say that.
05:23That's not going to happen, Joseph.
05:26The emperor slaps the faces of the aristocracy, asks us to turn the other cheek and thank him.
05:31Okay.
05:32Hello.
05:33Hello.
05:34Oh, hi.
05:35I don't really have anything to say to you.
05:37I just thought if someone didn't step in and stop talking to you, you might have murdered one of those men.
05:41Oh, I might still.
05:44I'm Franz Sussman.
05:45Are you a friend of my husband's?
05:47Oh, no, just with Myra.
05:49Oh.
05:50Oh, well, you're fitting well here then.
05:52Very well.
05:53I saw you sing last year.
05:56The mass.
05:58Yes, hey.
05:59I still think about it.
06:01Anyway, I'm glad I met you.
06:06Have a nice evening.
06:10Court composer, if you want.
06:23What happened to your eye?
06:25Oh, that slip getting out of the bath.
06:28They're death traps.
06:28My wife insists on having two a month.
06:31I tell her she's taking her life into her hands.
06:33How's the new work?
06:35Oh, good.
06:36Lazarus.
06:37Operatic tragedy.
06:38An operatic tragedy.
06:39Wow.
06:40It's been at least five minutes since the last one.
06:41The librettist.
06:43The librettist.
06:43The ponte.
06:45Oh, feckless creature.
06:47Well, Lorenzo has his eccentricities, but he's the best, and only the best will do.
06:51How are you, Antonia?
06:55I'm fine.
06:56It's just you seem not yourself these days.
06:58I'm not sure what it is.
06:59I worry, actually.
07:00You can tell me if there's something wrong.
07:02Are we talking about our feelings, Giuseppe?
07:05You're getting soft, Kapilmeister.
07:07I'm perfectly fine.
07:08Well, I do have something to talk to you about.
07:13The court has commissioned Mozart again.
07:15The emperor likes him?
07:16Well, he's a risk.
07:17Well, I mean, you've heard it, Antonia.
07:21My God, the boy come right.
07:23You can't deny that.
07:24Well, I think his talents may be outweighed by his...
07:28Eccentricity?
07:30The emperor wants to give him another go.
07:32My hands are tied.
07:33We are opening ourselves up to ridicule.
07:37Joseph wants his opera houses to be a shining light for all of Europe to...
07:41Just a picture.
08:03We're going to need a new Kapilmeister.
08:33Our new Kapilmeister.
08:43Congratulations.
08:46So, how does it feel?
08:49A lot different.
08:50You have all of Vienna and its musicians in your palm.
08:52You must feel something.
08:54We'll have to be quick today.
08:55I have a lot of meetings.
08:57Will you still be able to tutor me?
08:58Well, that Kapilmeister has to be very selective over who he keeps in his inner circle.
09:06I am going to have to let a lot of my pupils go.
09:10But you, Katarina, you, I intend to keep in my palm.
09:28You, Katarina, you, I intend to keep in my palm.
09:42Can you imagine choking to death with beef of all things?
10:04What's wrong with beef?
10:05Well, I can think of better things to choke on.
10:07There we are, sir.
10:08I love it.
10:09Anton, that sounds a bit flat to me.
10:14We've made Salieri Kapilmeister, did you hear?
10:17Well, I wish I mentioned it eight or nine times.
10:19Yes.
10:21He's actually summoned me to go meet with him.
10:22What's he want?
10:23No, Anton, that's sharp now.
10:25Just go through it all again, I think, please.
10:28I think he wants to talk to me about the new opera.
10:30Rosenberg thinks I might get a longer run this time, which is good.
10:34There was a boy at our party a few weeks ago.
10:37He'd been at Raymond's Met.
10:39Right.
10:41He remembered hearing me sing.
10:46Hadn't been able to stop thinking about it.
10:48Yes, well, it was a good piece and all that, wasn't it?
10:52I was just thinking about doing it again.
10:55Doing?
10:56Singing.
10:56Oh, as in, uh, professionally, or?
11:01Well, I was a good enough soprano when I was younger.
11:04There are roles out there in my range.
11:07I mean, yes.
11:10Yes, no, it's just singing a mass is one thing,
11:12but opera's kind of weeks on end, sometimes months.
11:17Anyway.
11:18See you later.
11:36Mozart!
11:38Come in, come in.
11:39Oh, I was very sorry to hear about Bono.
11:43Oh, yes, yes.
11:45Terrible.
11:47Makes one wonder, doesn't it?
11:49All this chaos, what God's plan might be.
11:53Yes, now, your new commission, um, I had to petition hard for you.
12:00Uh, there are still some at the court who needed persuading.
12:05I don't wish to speak ill of the dead,
12:07but I think that Bono's passing may have been a benefit to you,
12:13if you take my meaning.
12:15Yes, absolutely.
12:16No, yes, of course.
12:17And, uh, believe me, I'm grateful for everything.
12:20I really am.
12:22Still, what's the theme?
12:24General idea of the thing.
12:26No idea, I'm afraid.
12:27I'm still working on that.
12:28Really?
12:30Well, we were all thinking something a little fantastical.
12:34Fantastical?
12:35Gods, angels, kings, knights, that sort of a thing.
12:40Bit of a spectacle.
12:41The emperor wants crowd pleasers, if you understand.
12:43No, thank you, no.
12:45I think people are bored of that now.
12:46I was imagining, if anything, something a little bit more sort of real life.
12:51You know, just sort of relatable.
12:55Mozart, audiences don't come to the opera to see relatable characters.
13:00They come to be inspired.
13:03Yes, I think I can do both.
13:07Of course you can.
13:08I have, uh, given you the librettist Argenti.
13:17Argenti?
13:17Mm-hmm.
13:19Are you joking?
13:21Am I writing a birthday card?
13:23Or a sing-spiel for three-year-olds?
13:25Argenti is a more than confident librettist.
13:27Argenti can barely spell librettist.
13:29He's a moron.
13:30Be that as it may, everyone else is, is busy.
13:35Oh, and I almost forgot.
13:37The emperor wants this before Christmas.
13:39Before Christmas?
13:40Yes, I'm sorry.
13:41I, I, I hope that won't be a problem.
13:42Not for me, but I suppose I better tell Argenti to start sharpening his quill.
13:46Hopefully he won't accidentally stab himself up the arsehole with it.
13:48Good.
13:50Well, uh, let me do the thing.
13:52Soon as possible.
13:54Of course.
13:54And my best to Constanz.
13:57Thank you so much.
13:57I want to know what it's like to make something beautiful.
14:18I'm reading the most wonderful book.
14:22It's a play.
14:23It's a band, you know.
14:26Band by whom?
14:26My uncle.
14:27Obviously, Snape.
14:32What's it about?
14:34A marriage.
14:35Lust.
14:37A desire.
14:40That lies in truth.
14:44Why is the emperor banned this book?
14:47He thinks it's dangerous.
14:49It sounds so silly, doesn't it?
14:51Being afraid of something like a book or a song.
14:54Well, words can be dangerous.
15:00Perhaps I quite like danger.
15:02If I don't get what I want, I get bored.
15:11I hate getting bored.
15:12Well, sometimes life is boring, so...
15:17If you can't give me what I want, then I don't see there's any point in you being my tutor anymore.
15:27And I don't think you can afford to lose me.
15:29I mean, what are you going to do without me?
15:35Beg on the street?
15:41I'll make you back.
15:43This is a band play.
16:08It's band because there's truth in it.
16:10It's band because it depicts the servants as smarter than the masters.
16:14Which they are.
16:14Let me say, as a particularly smart servant myself, you should find a different story.
16:19Okay.
16:20Let me play you something.
16:21Something of what?
16:22Of this?
16:23I've already started writing it.
16:25I can't stop thinking about it.
16:26Well, try harder.
16:28Come on.
16:29No.
16:29One aria.
16:30One aria.
16:30That's the deal.
16:31Come on.
16:31To what end?
16:32Because you are going to be my librettist.
16:35Thank you, but I told you I'm spoken for, and my other half gets very jealous.
16:40Do you really want to spend the rest of your life writing milk toast operas for Kapelmeister Salieri?
16:44Yes.
16:45Don't you ever just want an easy life?
16:47No.
16:48Not at the expense of the music.
16:49Come on.
16:50One aria.
16:51All right.
16:51What do you mean you're quitting?
16:55I've promised my services to another composer.
16:59Who?
17:00Mozart.
17:01But you're working for me.
17:03Yes.
17:03No.
17:04It's just...
17:04Yes.
17:05No.
17:05It's just what?
17:10He played me some of it.
17:12Well, I suppose you could work on both at once.
17:23Well, that won't be possible.
17:25Why not?
17:27You're leaving Vienna?
17:28Just until we finish writing it, yes.
17:30We?
17:30Me and De Ponte.
17:31Why can't you write it here?
17:32Because if anybody finds out about what we're doing, they'll shut a stanza.
17:36What are you talking about?
17:36What is this opera?
17:37It's a secret stanza.
17:39I don't understand.
17:39Look, this is how we have to do it.
17:42It can't be ruined.
17:43It's very, you know, it's very delicate.
17:45Okay?
17:45I can't explain it to you.
17:46No.
17:46No, you can't.
17:48And the Princess Elizabeth, her lessons?
17:51I don't know.
17:52It's probably good that we have some time apart, frankly.
17:54Time apart?
17:55What do you mean, time apart?
17:56What happened?
17:59Oh.
17:59No, nothing's happened.
18:01Those lessons are important.
18:02We worked really hard to get you that job.
18:04I can't be thinking about fucking music lessons, okay?
18:07I have to do this.
18:08I have to do it.
18:09Yes, you have to leave.
18:10Yes.
18:11Well, yes.
18:16Will you be back next month?
18:19I don't know.
18:20Probably not.
18:21Why?
18:24It'll be Raymond's anniversary.
18:28But I will lay flowers on your behalf, shall I?
18:42Good afternoon, sir.
18:43Fuck!
18:45Fuck!
18:45Fuck!
18:45Fuck!
18:46Fuck!
18:46Fuck!
18:46Fuck!
18:47Fuck!
18:47Fuck!
18:48Fuck!
18:48Fuck!
18:49Fuck!
18:49Fuck!
18:50Fuck!
18:51Fuck!
18:51Fuck!
18:52Fuck!
18:52Fuck!
18:53Fuck!
18:53Fuck!
18:54Fuck!
18:54Fuck!
18:55Fuck!
18:55Fuck!
18:56Fuck!
18:56Fuck!
18:57Fuck!
18:57Fuck!
18:58Fuck!
18:58Fuck!
18:59Fuck!
19:00Fuck!
19:01Fuck!
19:02Fuck!
19:03Fuck!
19:04Fuck!
19:05Fuck!
19:06Fuck!
19:07Fuck!
19:08Fuck!
19:09Fuck!
19:10Fuck!
19:11Fuck!
19:12Fuck!
19:13Fuck!
19:13Fuck!
19:13Your Majesty, I have some rather unfortunate news.
19:30You'll remember how at Bono's insistence,
19:32Mozart was given another opera commission.
19:34Well, he's stolen my librettos, you see,
19:37and what's more, he's refusing to reveal
19:39what his opera is even about.
19:40Your Majesty, what happened?
19:45One of the dogs bit me.
19:46Tried to stop it mauling the stay.
19:49Stupid.
19:50Bono didn't commission Mozart, I did.
19:54When there are enough librettists in this damn town
19:56to go around, probably we'll share.
19:58Of course, of course we can.
20:01There is, however, another matter,
20:03a more sensitive matter,
20:04I thought you should be aware of.
20:06There are rumours that Mozart may have been
20:10indelicate with the princess.
20:13Indelicate?
20:14I'll have him whipped.
20:15Oh, no.
20:17Justice Banner, sir.
20:19Nothing that would have crossed that line,
20:21I assure you.
20:22Could even so.
20:23Um, yes, no, we can't have any suggestions
20:25of impropriety.
20:27Especially,
20:28even her temperament.
20:30We can have him quietly removed from the position,
20:32no need for a scandal,
20:34and I can find somebody more appropriate
20:36to tutor her.
20:37Fisher, perhaps.
20:38No, you do it.
20:39Me too, tell her.
20:40Are you sure?
20:41Yes, it's cleaner that way.
20:43Besides, I have enough of my plate as it is right now.
20:46Of course.
20:46And then,
20:47the opera.
20:48You're the capital master now, Salieri.
20:50If one of your composers is writing a secret opera,
20:52it is up to you to find out what it is
20:53before whining to me about it.
20:56I've washed this shit off me.
20:57Have a dance.
21:05Have a dance.
21:06Have a dance.
21:06Jesus Christ, are you working?
21:18You're not in the carriage, Wolfgang.
21:34This is a sacred space.
21:37What's there to it, anyway?
21:38Wait, excuse me.
21:38It's a farce.
21:40Everyone dresses up as everyone else.
21:43So-and-so hides under so-and-so's frock.
21:45They all fuck each other.
21:46The end.
21:47It's not that kind of farce, though, is it?
21:48There's more to it than that.
21:49Figaro, Susanna,
21:50they lose each other,
21:51then they find each other again.
21:52It's complicated.
21:54You need to capture the spirit of it.
21:55Oh.
21:56The marriage of Figaro.
21:58Yes.
22:00How's the marriage of Mozart?
22:01Okay, look.
22:03Pull me another trick.
22:23Come on.
22:27Come on.
22:28Oh, sorry.
22:29Come on.
22:31Wolfgang,
22:33you dragged me away from Vienna
22:34to write an illegal opera with you.
22:36I was under the impression
22:37that we'd at least be very drunk.
22:40Very drunk.
22:40I'm trying to work out
22:41the feeling of this section.
22:42What is the feeling of it?
22:43The Count is confused.
22:45He thinks that Susanna doesn't love him.
22:47Okay, will you?
22:48We can have her lie to him
22:49and give him a false hope,
22:51a false promise.
22:52Deception.
22:53Deception.
22:54Betrayal.
22:57Forgiveness?
22:58Oh.
23:00Forgiveness is good.
23:00Yeah, forgiveness is good.
23:01Okay, yes.
23:02Feeling of forgiveness.
23:04Wolfgang,
23:05I'm going to invite some girls over now.
23:07Mm-hmm.
23:08You could just put a pin in the opera chat
23:10for five minutes.
23:11Mm-hmm.
23:12Susanna and the Countess
23:13have started working together.
23:14That's why Susanna goes to the Count.
23:16But she needs to convince him
23:18that she does love him.
23:19That's all part of his amusing plot.
23:20And it's like,
23:20oh, finally,
23:21Crudel,
23:22Why did you make me wait so long?
23:25You know,
23:26I was a priest in Venice.
23:28And how's it end?
23:30The opera.
23:31Well, they end up happily together.
23:33So not like real life, then?
23:34Oh, don't say that.
23:37He's so sweet.
23:38He's writing this for his wife.
23:40Anyway,
23:40thank you for the company.
23:41This has been fun.
23:42Where are you going?
23:43Going to work.
23:45Fucking hell.
23:45You can't leave.
23:46I mean,
23:46you've just told us all about your opera.
23:48You have to play the sun.
23:49Well, the instruments are all in my room.
23:50Well, you can play it to me in your room, then.
23:59Amadeus!
24:01Amadeus!
24:02Put your bow down
24:04and fuck someone!
24:12That's the duet from the third act.
24:19I didn't actually think
24:20you were going to play me your opera.
24:24Yes.
24:28Yes.
24:30Go.
24:31It was very nice, though.
24:35And you're writing it for your wife?
24:38Yes.
24:38You could just
24:41talk to her.
24:48This is how I talk.
24:52Well, they better be good, then.
24:55Yes.
25:08Well, they're about to beat it.
25:26Okay.
25:27Yes.
25:27I'll have it.
25:27Yes.
25:28I'll have it.
25:33I'll have it.
25:34I'll have it.
25:35Stanza!
25:39Stanza!
25:43Stanza!
26:05Stanza!
26:35Stanza!
26:37Stanza!
26:39Stanza!
26:41Stanza!
26:43Stanza!
26:45Stanza!
26:47Stanza!
26:49Stanza!
26:51Stanza!
26:53Stanza!
26:55Stanza!
26:57Stanza!
26:59Stanza!
27:01Stanza!
27:03Hello, Fram Mozart.
27:10Sorry to start with you.
27:12Francis Meyer, we met a while ago.
27:14Yes, yes, you rescued me from a very boring conversation at a party.
27:18You remember?
27:19Yes. What can I do for you?
27:20Well, I wondered if I could talk to your husband.
27:22Oh, he's not here.
27:24Oh, that's a shame.
27:27I'm here on behalf of the Royal Viennese School of Music, you see.
27:30We've been writing to him about performing for the school.
27:32You should come in.
27:33No, I shouldn't.
27:34You'll get washed away.
27:38Come in.
27:39So this performance?
27:41For the school.
27:43I mean, it would just need to be a half an hour.
27:45Just some works on the fortepiano, maybe the viola, whatever he wanted.
27:51Two florins.
27:52Two florins?
27:54For an hour, yes.
27:56It doesn't do half-hour concerts.
27:58My husband is a royally commissioned opera composer
28:00and asked to our tutor to the Princess Elizabeth.
28:01If you require a quartet, we'll source musicians for a 15% cut of each of their fees.
28:06Yes, of course.
28:07I just need to discuss that with the head of the school.
28:10And the fee would need to be paid up front, of course.
28:12Naturally.
28:12You speak very plainly.
28:17Is that a problem?
28:18No.
28:19No, not at all.
28:21I like it.
28:24But, well, it was a pleasure seeing you again.
28:28I'm sorry.
28:34You know, this is probably an imposition, but there's a concert tomorrow, actually.
28:39It's just a small thing, but it's quite fun, and you and your husband would be very welcome.
28:43Well, my husband's away, so...
28:45Yes, of course.
28:46You said.
28:48Well, I mean, you could come.
28:51I'll save you a table at St. Schumann's.
28:53Do you know it?
28:54Yes.
28:54Well, I could tell you all about the school and the performance.
28:56A couple of glasses of schnapps.
28:58I'm sure you could even raise that fee by a bit.
29:00Yes, well, maybe.
29:07Maybe.
29:08Maybe I'll come.
29:10Ah.
29:12It's perfect.
29:13Send a call out for musicians.
29:14Get them here within the week.
29:16You think they'll all come?
29:17Just tell them that Mozart and DuPonté have written the greatest opera they'll ever have
29:21the chance to perform, and then they'll come.
29:23This will be worth it, won't it, doing this?
29:27Yes, I think she'll like it.
29:28Um, I was more talking about whether its artistic merits might be enough to keep us out of jail
29:35for disobeying the emperor.
29:36Hmm.
29:37Well, that's part of the fun.
29:39It's part of the fun.
29:41That is part of the fun.
29:43Okay.
29:44Okay, all right.
29:46We'll take it.
29:47My darling Constanza, we have stopped in a small town for a few weeks in the hope of finding
30:01our opera.
30:01And all of the pieces are fitting into place in ways even better than I could have hoped.
30:08And I feel so strongly that when you listen to this opera, you'll see what's in my heart
30:12and you'll notice.
30:14In ways that I hope you'll truly understand.
30:17Miss you.
30:18And I love you.
30:19And I look forward to when we are together.
30:22And I look forward to when we are together.
30:33Thank you, ladies and gentlemen.
30:53Now, for this next performance, I need a female voice.
30:58Who can sing here?
30:58Who do we know?
30:59Me!
30:59Oh.
31:00Oh.
31:00Madam, how about you?
31:06No.
31:24You too?
31:25Yes.
31:27Do you know this one?
31:29No.
31:30Bald wird sich auch dieses bügen, dass wir ein Zehntzimmer sind.
31:43Bald fällt sich trotz allem Neide, freie Atmen von der Blut.
31:55So you'll never be a prima donna, so what?
32:15Amisioka Soprano in a family full of colorituras.
32:19That wouldn't bother you.
32:21It would bother me a little bit.
32:22And then marry a prodigy and see how that feels.
32:25Your husband is exceptional.
32:28That's one word for him.
32:30Also useless, chaotic, and no one knows what to do with him.
32:35They can't rely on him, but they can't let him go.
32:38He's just like a moth dancing around in a lamp.
32:43And he'll either fly away or he'll burn.
32:46And be with him.
32:50What?
32:51A moth in a lamp.
32:53Mm-hmm. It's a metaphor.
32:54It's a good one.
32:55Shut up.
32:58How long is he away for?
33:00I don't know.
33:02I got a letter from him saying they'd find a rehearsal space in Trebidge at the end of the month.
33:07I think they plan to stay there until November, at least.
33:10Where the hell's Trebidge?
33:12No idea.
33:13Hmm.
33:16November's a long time to be alone.
33:17Hmm.
33:17Yes, it is.
33:19Yes, it is.
33:29Trebidge.
33:30They've booked a rehearsal space there for the end of the month.
33:32Oh.
33:35Kabelmeister, I hope you don't mind me questioning you, but I...
33:38Well, I don't want to feel as if I'm engaging in subterfuge.
33:43Oh, Franz, I care deeply for Mozart.
33:47He has the artist's proclivity for self-destruction.
33:50It's my job as Kabelmeister and his friend to make sure he doesn't indulge those instincts.
33:57Yes, you can clear your conscience.
34:00By helping me, you are helping him.
34:04And his wife as well.
34:21Well, baby.
34:27I miss you.
34:33Do you still listen to me sing?
34:36I hope so.
34:57You must practice, princess.
35:06I didn't like to.
35:10I'm sure you could think of a way to help me remember it all.
35:21Without the work.
35:22Would you like it?
35:33My uncle got it for me.
35:49Ow!
35:49Ow!
35:52There.
36:02I've made a little map for you.
36:06Don't play with me.
36:08I never play games I can't win.
36:12When's Wolfgang coming back?
36:15Oh.
36:16He's not.
36:20Hi there.
36:20Hi, nice to see you.
36:21Thank you so much.
36:22Please, let's go over there.
36:23Hi, my friend.
36:24Hi, my friend.
36:25Hi, sir.
36:26You're welcome.
36:27The singer's over there with Lorenzo.
36:29Hi, hello.
36:30Hello.
36:30Hello.
36:31Hello.
36:31Hello.
36:32Viola, you still on viola, sir?
36:33Okay, so you're welcome.
36:34Everyone, go to the pillow.
36:35Hello.
36:36Okay.
36:37All right.
36:40Thank you, everybody, for traveling all this way.
36:44You're probably wondering why the clandestine nature of this whole affair.
36:49Well, Lorenzo and I have a confession to make.
36:52We're not just asking you here to be co-collaborators on this opera.
36:56We're also asking you to be co-conspirators.
36:58What we're rehearsing today is a version of The Marriage of Figaro.
37:07Just give us a few hours of your time, and if at the end of the rehearsal you want to leave,
37:12you can leave.
37:14Well, here we go.
37:422.
37:435 hard work on top.
37:442.
37:455.
37:454.
37:465.
37:476.
37:498.
37:506.
37:517.
37:518.
37:528.
37:538.
37:549.
37:558.
37:569.
37:5710.
37:5811.
37:5911.
37:5919.
37:5911.
38:0019.
38:0112.
38:0211.
38:0311.
38:0411.
38:0514.
38:0613.
38:0814.
38:099.
38:1011.
38:36Friends?
38:38Constanza.
38:40I was just passing.
38:42Well, no, actually, I never passed by here.
38:45It's miles from my apartment. Extremely inconvenient.
38:48But I came because I wanted to come and tell you I'm leaving.
38:57For a bit.
39:00I see.
39:02I didn't want you to think that I just disappeared.
39:05No.
39:07No, no, that's very kind of you.
39:11I will be back in Vienna on the 10th of December.
39:15Your husband will...
39:16He'll be back.
39:17Yes.
39:18If...
39:22I thought maybe I would visit the St. Michael's Church on the evening I return.
39:28If someone wanted to find me...
39:31...alone...
39:32No.
39:34That's where I'd be.
39:37Why are you telling me that?
39:43Because I think I would go mad if I didn't.
40:02...
40:10...
40:13...
40:14...
41:15And he resolutely fails to retain a single piece of my knowledge.
41:18Now, we do this every Thursday at this time.
41:21Now, if he is too busy...
41:22Yes, Salieri, it is simply not possible...
41:24I'm the capital meister of the court of Emperor Joseph II, and I...
41:29Antonio.
41:30Your Majesty, I do apologize for this cacophony.
41:33Yes, come in.
41:34There's no time for a music lesson today, I'm afraid, Antonia.
41:44The Ottomans have provoked Russia into war, and we are treaty-bound to defend them.
41:50With everything that we have...
41:52Revolution brewing in the Netherlands, Prussians saber-rattling at the north,
41:56there could hardly be a more inopportune time for a war.
41:59I have no experience of war.
42:02Yeah.
42:03I should hope you never will.
42:06What was it that you wanted to speak to me about?
42:08I...
42:08Yes, um...
42:12I have heard word of a banned opera being ready for performance.
42:21Banned opera?
42:22Yes.
42:23The marriage of Figaro, Your Majesty.
42:25You banned it yourself.
42:26No memory, but what's it about?
42:28Adultery, sin, betrayal, upper classes being depicted as fools,
42:31working poor, their betters.
42:33Who wrote it?
42:34Mozart.
42:37And the librettist?
42:38DuPont.
42:39I thought he was doing yours.
42:40No.
42:42Right, so it'll be in Italian.
42:43The only people who will understand it are the aristocrats.
42:46They're hardly likely to start a revolution, are they?
42:48Look, Antonio, I don't recall banning this play.
42:50I also don't recall its title being used as the primary motive
42:53in any peasant uprisings that may be occurring.
42:56Let them put it on.
42:57Go with Van Sweeten to the opening night.
42:59If the audience are moved to leave the theatre
43:01and march on the palace demanding my head,
43:03then you have my permission to shut it down.
43:10Stanso, I'm back.
43:24You awake.
43:26Stanso, I need to leave.
43:54I'll meet you there.
43:56Pardon?
43:57I'll meet you there.
44:00All right.
44:21Excuse me.
44:48Wolfgang. Wolfgang.
44:50Meet you backstage.
44:58You all right?
44:59Hm?
45:00Are you all right?
45:01Yes.
45:02Constanza isn't here, so...
45:03I need...
45:05Listen to me.
45:06I quit the Kappelmeister's opera to do this
45:09because I believe in it.
45:11And I believe in you, but it does need to go well.
45:13You understand?
45:14Yes.
45:15Now, what do we say?
45:16We say, fuck em all, yes?
45:18Fuck em all, yes.
45:19Fuck em all.
45:21Good boy.
45:22What are you doing?
45:23Turn around.
45:24Here, sorry.
45:25Sit down.
45:26Just a chair.
45:27Sit down.
45:28Just a chair.
45:29I see.
45:30I see.
45:31I see.
45:32I see.
45:33I see.
45:42I see.
45:44I see.
51:45I'm starting to enjoy it.
Be the first to comment