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