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