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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.
03:24Oh, my God.
03:29Oh, my God.
03:39Oh, my God.
03:41Oh, my God.
03:42We're going to need a new couple, Meister.
04:12Our new Kappelmeister. Congratulations.
04:22So, how does it feel?
04:25No 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.
04:46But you, Katerina, you, I intend to keep in my palm.
05:11Can you imagine choking to death with beef of all things?
05:36What's wrong with beef?
05:37Well, I can think of better things to choke on.
05:40There we are, sir.
05:41I love it.
05:43Anton, that sounds a bit flat to me.
05:46We've made Cellieri Kappelmeister, did you hear?
05:49I wish I mentioned it, 89 times. Yes.
05:53He's actually summoned me to go meet with him.
05:54What's he want?
05:55No, Anton, that's sharp now.
05:57Just go through it all again, I think, please.
05:58I think he wants to talk to me about the new opera.
06:02Rosenberg thinks I might get a longer run this time, which is good.
06:06There was a boy at our party a few weeks ago.
06:08He'd been at Raymond's Mass.
06:11Right.
06:12He 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?
06:20I was just thinking about doing it again.
06:25Doing?
06:26Singing.
06:27Oh, as in, uh, professionally?
06:31Well, 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,
06:41but opera's kind of weeks on end, sometimes months.
06:48See you later.
06:50Mozart, come in, come in.
07:09Oof, I was very sorry to hear about Bono.
07:11Oh, yes, yes.
07:13Terrible.
07:14Makes one wonder, doesn't it?
07:17All this chaos, what God's plan might be.
07:20Mm-hmm.
07:22Yes, now, your new commission.
07:24Um, I had to petition hard for you.
07:27Uh, there are still some at the court who needed persuading.
07:32I don't wish to speak ill of the dead,
07:34but I think that Bono's passing may have been a benefit to you,
07:39if you take my meaning.
07:41Yes, absolutely, no, yes, of course.
07:43And, uh, believe me, I'm grateful for everything.
07:46I really am.
07:48Still, what's the theme?
07:50General idea of the thing?
07:52No idea, I'm afraid.
07:53I'm still working on that.
07:54Really?
07:56Well, we were all thinking something a little fantastical.
08:00Fantastical?
08:01Gods, angels, kings, knights, that sort of a thing.
08:05Bit of a spectacle.
08:06The emperor wants crowd-pleases, if you understand.
08:08No, thank you, no.
08:10I think people are bored of that now.
08:12I was imagining, if anything, something a little bit more sort of real life.
08:16You know, just sort of relatable.
08:17Well, sir, audiences don't come to the opera to see relatable characters.
08:25They come to be inspired.
08:27Yes, I think I can do both.
08:31Of course you can.
08:33I have, uh, given you the librettus Argenti.
08:40Argenti?
08:41Mm-hmm.
08:43Are 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.
08:51Argenti can barely spell librettist.
08:52He's a moron.
08:53Be that as it may, everyone else is... is busy.
08:58Oh, and I almost forgot.
09:00The 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 better tell Argenti to start sharpening his quill.
09:08Hopefully he won't accidentally stab himself up the arsehole with it.
09:11Good.
09:11Well, uh, let me know to the feed.
09:14As soon as possible.
09:15Of course.
09:16And my best to Constanze.
09:18Thank you so much.
09:19I want to know what it's like to make something beautiful.
09:39I'm reading the most wonderful book.
09:42It's a play.
09:43It's a band, you know.
09:46Band by whom?
09:47My uncle, obviously.
09:48What's it about?
09:54Marriage.
09:55Lust.
09:57A desire.
10:00It lies in truth.
10:03Why has the emperor banned this book?
10:06He thinks it's dangerous.
10:08It sounds so silly, doesn't it?
10:10Being afraid of something like a book or a song.
10:13Well, words can be dangerous.
10:18Perhaps I quite like danger.
10:22If I don't get what I want, I get bored.
10:29I hate getting bored.
10:30Well, sometimes life is boring, so...
10:36If you can't give me what I want, then I don't see there's any point in you being my tutor anymore.
10:44And I don't think you can afford to lose me.
10:46I mean, what are you going to do without me?
10:53Beg on the street?
10:58I'll make you back.
11:00This is a band play.
11:23It's band because there's truth in it.
11:26It's band because it depicts the servants as smarter than the masters.
11:29Which they are.
11:29Let me say, as a particularly smart servant myself, you should find a different story.
11:34Okay.
11:35Let me play you something.
11:36Something of what?
11:37Of this.
11:38I've already started writing it.
11:39I can't stop thinking about it.
11:41Well, try harder.
11:42Come on.
11:43No.
11:43One aria.
11:44One aria.
11:45That's the deal.
11:45Come on.
11:46To what end?
11:46Because you are going to be my librettist.
11:49Thank you, but I told you I'm spoken for, and my other half gets very jealous.
11:53Do you really want to spend the rest of your life writing milk toast operas for Kapelmeister
11:57Salieri?
11:57Yes.
11:58Don't you ever just want an easy life?
12:01No.
12:01Not at the expense of the music.
12:03Come on.
12:03One aria.
12:04All right.
12:05What do you mean you're quitting?
12:08I've promised my services to another composer.
12:11Who?
12:13Mozart.
12:14But you're working for me.
12:15Yes.
12:16No.
12:17It's just...
12:17Yes.
12:18No.
12:18It's just what?
12:22He played me some of it.
12:32Well, I suppose you could work on both at once.
12:35Well, that won't be possible.
12:37Why not?
12:38You're leaving Vienna?
12:40Just until we finish writing it, yes.
12:41We?
12:42Me and DuPontay.
12:43Why can't you write it here?
12:44Because if anybody finds out about what we're doing, they'll shut a stand.
12:47What are you talking about?
12:47What is this opera?
12:48It's a secret.
12:49I don't understand.
12:51Look, this is how we have to do it.
12:53It can't be ruined.
12:54It's very, you know, it's very delicate.
12:56Okay?
12:56I can't explain it to you.
12:57No, no, you can't.
12:58And the Princess Elizabeth, her lessons?
13:02I don't know.
13:02It's probably good that we have some time apart, frankly.
13:05Time apart?
13:05What do you mean, time apart?
13:06What happened?
13:09Oh.
13:10No, nothing's happened.
13:11Those lessons are important.
13:12We worked really hard to get you that job.
13:14I can't be thinking about fucking music lessons.
13:16Okay?
13:16I have to do this.
13:18I have to do it.
13:19Yes, you have to leave.
13:20Yes.
13:21Well, yes.
13:22Will you be back next month?
13:28I don't know.
13:29Probably not.
13:30Why?
13:33It'll be Raymond's anniversary.
13:38But I will lay flowers on your behalf, shall I?
13:50Good afternoon, sir.
13:52God bless you.
14:21Your Majesty, I have some rather unfortunate news.
14:36You'll remember how it follows insistence Mozart was given another opera commission.
14:40Well, he's stolen my librettus, you see, and what's more, he's refusing to reveal what
14:44his opera is even about.
14:47Your Majesty, what happened?
14:50One of the dogs bit me.
14:51Try to stop it mauling the stay.
14:54Stupid.
14:55Bono didn't commission Mozart, I did.
14:58Aren't there enough librettists in this downtown to go around?
15:01How do we all share?
15:03Of course, of course we can.
15:05There is, however, another matter, a more sensitive matter, I thought you should be aware of.
15:11There are rumours that Mozart may have been indelicate with the princess.
15:17Indelicate?
15:18Well, I've been whipped.
15:19Oh, no, Justice Banner, sir.
15:22Nothing that would have crossed that line, I assure you, but even so.
15:26Um, yes, no, we can't have any suggestion of impropriety, especially even her temperament.
15:32We can have him quietly removed from the position, no need for a scandal, and I can find somebody
15:38more appropriate to tutor her, a fisher perhaps.
15:40No, you do it.
15:41Me tutor her?
15:42Are you sure?
15:43Yes, it's cleaner that way.
15:45Besides, I have enough of my plate as it is right now.
15:48Of course.
15:48And then, the opera.
15:50You're the capital master now, Salieri.
15:52If one of your composers is writing a secret opera, it is up to you to find out what it
15:55is before whining to me about it.
15:57I've washed this shit off me.
15:58Amadeus!
16:06Amadeus!
16:08Amadeus!
16:10Jesus 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,
16:50then they find each other again.
16:51It's complicated.
16:53We need to capture the spirit.
16:55The marriage of Figaro.
16:57Yes.
16:59How's the marriage of Mozart?
17:00Okay, look.
17:02Pour me another drink.
17:02I've got it.
17:03I've got it.
17:03I've got it.
17:08Let's go.
17:09I've got an update.
17:10I've got an update.
17:11It won't be.
17:12Great, great.
17:14Good night.
17:15I've got a great team.
17:17Who's out there?
17:21Come on.
17:22Oh, sorry.
17:26Come on.
17:26Wolfgang, you dragged me away from Vienna to write an illegal opera with you.
17:33I was under the impression that we'd at least be very drunk, very 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, really?
17:44We can have her lie to him and give him a false hope, a false promise.
17:48Deception.
17:50Deception.
17:50Betrayal.
17:53Forgiveness.
17:55Forgiveness is good, yeah.
17:56Forgiveness is good.
17:57Okay, yes.
17:58Feeling of forgiveness.
18:00Wolfgang, I'm going to invite some girls over now.
18:03You know what?
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.
18:17Why 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?
18:29Oh, no, don't.
18:29Don't say that.
18:31He's so sweet.
18:32He's writing this for his wife.
18:34Anyway, thank you for the company.
18:35This has been fun.
18:36Where are you going?
18:37Going to work.
18:38Fucking hell.
18:39You can't leave.
18:40I mean, you just told us all about your opera.
18:41You have to play the song.
18:42Well, the instruments are all in my room.
18:44So, I like.
18:45Well, you can play it to me in your room, then.
18:46That's the duet from the third act.
19:10I didn't actually think you were going to play me your opera.
19:16Yes.
19:19Yes.
19:21Go.
19:21It was very nice, though.
19:26And you're writing it for your wife?
19:29Yes.
19:31You could just talk to her.
19:39This is how I talk.
19:43Well, they better be good, then.
19:44Yes.
19:46Yes.
20:14This is how I talk.
20:20Stand up!
20:28Stand up!
20:33Stand up!
20:50Stand up!
21:10Stand up!
21:26Stand up!
21:30Stand up!
21:34Stand up!
21:38Stand up!
21:40Stand up!
21:42Stand up!
21:44Stand up!
21:46Stand up!
21:48Stand up!
21:50Stand up!
21:52Hello, Fram Ozark!
21:54Sorry to stumble you.
21:56Francis Meyer, we met a while ago.
21:58Yes, yes, you rescued me from a very boring conversation at a party.
22:01You remember?
22:02Yes.
22:03What can I do for you?
22:04Well, I wondered if I could talk to your husband.
22:05Oh, he's not here.
22:07Oh, that's a shame.
22:09I'm here on behalf of the Royal Viennese School of Music, you see.
22:12We've been writing to him about performing for the school.
22:14You should come in.
22:15I shouldn't.
22:16You'll get washed away.
22:20Come in.
22:22So this performance?
22:23For the school.
22:24I mean, it would just need to be a half an hour.
22:27Just some works on the fortepiano, maybe the viola, whatever he wanted.
22:32Two florins.
22:33Two florins.
22:34Two florins.
22:35For an hour, yes.
22:36It doesn't do half-hour concerts.
22:38My husband is a royally commissioned opera composer and erstwhile tutor to the Princess Elizabeth.
22:43If you require a quartet, we'll source the musicians for 15% cut of each of their fees.
22:47Yes, of course.
22:48I just need to discuss that with the head of the school.
22:50And the fee would need to be paid up front, of course.
22:52Naturally.
22:54You speak very plainly.
22:57Is that a problem?
22:58No.
22:59No, not at all.
23:00I like it.
23:04Well, it was a pleasure seeing you again.
23:11Sorry.
23:12You know, this is probably an imposition, but there's a concert tomorrow, actually.
23:17It's just a small thing, but it's quite fun, and you and your husband would be very welcome.
23:21Well, my husband's away, so...
23:23Yes, of course.
23:24You said.
23:26Well, you could come.
23:28I'll save your table.
23:29It's at Schumann's.
23:30Do you know it?
23:31Yes.
23:32Well, I could tell you all about the school and the performance.
23:34A couple of glasses of schnapps.
23:35I'm sure you could even raise that fee by a bit.
23:38Yes.
23:39Well...
23:40Maybe.
23:41Maybe.
23:42Maybe.
23:43Maybe I'll come.
23:44Ah.
23:45Perfect.
23:46Send a call out for musicians.
23:47Get them here within the week.
23:48You think they'll all come?
23:49Just tell them that Mozart and DuPonte have written the greatest opera they'll ever have
23:53the chance to perform, and then they'll come.
23:55This'll be, um, worth it.
23:56Won't it?
23:57Doing this?
23:58Yes, I think she'll like it.
23:59Um, I was more talking about whether its artistic merits might be enough to keep us
24:00out of jail for disobeying the emperor.
24:01Mmm.
24:02Well, that's part of the fun.
24:03It's part of the fun.
24:04That is part of the fun.
24:05Okay.
24:06Okay, all right.
24:08We'll take it.
24:09My darling Constanza, we have stopped in a small town for a few weeks in the hope of
24:22finding our opera.
24:24And all of the pieces are fitting into place in ways even better than I could have hoped.
24:41And I feel so strongly that when you listen to this opera, you'll see what's in my heart
24:46in the end of this.
24:47In ways that I hope you will truly understand.
24:51I miss you.
24:53And I love you.
24:54And I look forward to when we are together.
25:21Thank you, ladies and gentlemen.
25:26Now, for this next performance, I need a female voice.
25:30Who can sing here?
25:31Who do we know?
25:32Me!
25:33Oh.
25:36Madam.
25:37What about you?
25:38No.
25:39No.
25:40Of course.
25:42Thank you, ladies and gentlemen.
25:44No.
25:53You can.
25:55Yes.
25:56Do you even ask me?
25:57Yes.
25:58Yes.
25:59Yes.
26:00Yes.
26:01Yes.
26:02Bald wird sich auch dieses büten, dass wir ein Zinnzimmer sind.
26:14Bald wird ich trotz allem Neide, frei Atmen von der Blut.
26:24Wenn ich dir mein Herz und Hand mit dem Jahr wozu gewandt,
26:35Wenn ich dir mein Herz und Hand mit dem Jahr wozu gewandt,
26:41So you'll never be a prima donna, so what?
26:44Amisioka Soprano in a family full of coloratures.
26:47That wouldn't bother you.
26:49Bother me a little bit.
26:51And then marry a prodigy and see how that feels.
26:53Your husband is exceptional.
26:56That's one word for him.
26:58Also useless, chaotic, and no one knows what to do with him.
27:03They can't rely on him, but they can't let him go.
27:06He's just like a moth dancing round in a lamp.
27:10And he'll either fly away or he'll burn.
27:13And me with him.
27:16What?
27:18A moth in a lamp.
27:20Mhm, it's a metaphor.
27:21It's a good one.
27:22Shut up.
27:25How long is he away for?
27:26I don't know.
27:27I got a letter from him saying they'd find a rehearsal space in Trebidge at the end of the month.
27:33I think they plan to stay there until November at least.
27:35Where the hell's Trebidge?
27:37No idea.
27:38November's a long time to be alone.
27:39Yes, it is.
27:40Trebidge.
27:41They've booked a rehearsal space there for the end of the month.
27:50Kabelmeister, I hope you don't mind me questioning you, but I, well I don't want to feel as if I'm engaging in subterfuge.
28:08Oh, Franz, I care deeply for Mozart.
28:11He has the artist's proclivity for self-destruction.
28:14It's my job as Kabelmeister and his friend to make sure he doesn't indulge those instincts.
28:21Yes.
28:22You can clear your conscience.
28:24By helping me, you are helping him.
28:27And his wife as well.
28:30Well, baby.
28:45I miss you.
28:50Do you still listen to me sing?
28:56I hope so.
28:59It was practice, princess.
29:26I didn't like to.
29:28I'm sure you could think of a way to help me remember it all.
29:37Without the work?
29:41Without the work?
29:44Would you like it?
29:50My uncle got it for me.
29:55My uncle got it for me?
29:56I'm sure.
29:57It's great.
29:58I love you.
30:00It's great because I have a good hand.
30:01We are you okay?
30:02How you got it?
30:03I've been working on a new life.
30:04How you got it for me?
30:05How now?
30:07How you got it for me?
30:09What?
30:10There, I've made a little map for you.
30:24Don't play with me.
30:26I never play games I can't win.
30:30When's Wolfgang coming back?
30:33Oh, he's not.
30:37Hi there, hi, nice to see you.
30:39Thank you so much.
30:40Please, that's Lorenzo.
30:41Hi, Mr. Friend.
30:43Hi, sir.
30:44Welcome.
30:45Singers over there with Lorenzo.
30:47Hi, hello.
30:48Hi, yes.
30:49Viola, you still on the viola, sir?
30:50Everyone go to the pillow.
30:53All 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.
31:18Just 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.
31:30We're not just asking you to be co-conspirators on this opera.
31:43We're not just asking you to be co-conspirators.
32:46Friends?
32:49Constance, I was just passing.
32:53Well, no, actually, I never passed by here.
32:56To mask from my apartment is extremely inconvenient.
32:58But I came because I wanted to come and tell you I'm leaving.
33:03For 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.
33:18I will be back in Vienna on the 10th of December.
33:24Your husband will be back.
33:25He'll be back.
33:26Yes.
33:26Yeah.
33:29I thought maybe I would visit the St. Michael's church on the evening I return.
33:34Then, if someone wanted to find me alone, that's where I'd be.
33:45Why are you telling me that?
33:51Because I think I would go mad if I didn't.
33:52I don't think I've been waiting for this turkey.
33:53You're not going to be?
33:58No.
33:59No.
34:00No.
34:01No.
34:02No.
34:05No.
34:06Yeah.
34:07No.
34:07Oh, my God.
35:07I merely require two minutes of his majesty, sir.
35:12I'm afraid it's just not possible.
35:14Young man, I have a weekly routine with the emperor whereby I try to teach him the fortepiano
35:19and he resolutely fails to retain a single piece of my knowledge.
35:22Now, we do this every Thursday at this time.
35:24Now, if he is too busy...
35:25Yes, Salieri, it is simply not possible.
35:27I'm the capitalmeister of the court of Emperor Joseph II, and I...
35:32Antonio.
35:33Your majesty, I do apologize for this cacophony.
35:36Yes, come in.
35:37There's no time for a music lesson today, I'm afraid, Antonia.
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, Prussians saber-rattling at the north,
35:58there could hardly be a more inopportune time for a war.
36:01I have no experience of war.
36:03Yeah.
36:04I should hope you never will.
36:07What was it that you wanted to speak to me about?
36:08I have heard word of a band opera being ready for performance.
36:22Band opera?
36:23Yes.
36:23The marriage of Figaro.
36:25Your majesty, you banded yourself.
36:27No memory, then.
36:27What's it about?
36:28Adultery, sin, betrayal, upper classes being depicted as fools, working poor, they're betters.
36:33Who wrote it?
36:34Mozart.
36:36And the librettist?
36:38Du Pont.
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, Antonia, I don't recall banning this play, but I also don't recall its title being
36:51used as the primary motive in any peasant uprisings that may be occurring.
36:55Let them put it on, go with Van Sweeten to the opening night, if the audience are new,
36:59to leave the theatre and march on the palace demanding my head, then you have my permission
37:02to shut it down.
37:08Statsa, I'm back.
37:22You awake?
37:38Statsa, I need to leave.
37:50I'll meet you there.
37:52Pardon?
37:53I'll meet you there.
37:56All right.
38:08All right.
38:37Wolfgang. Wolfgang.
38:44It's backstage.
38:49Five minutes. Five minutes.
38:51You all right?
38:53Are you all right? Yes.
38:55Constander isn't here yet, sir.
38:56I need...
38:58Listen to me.
38:59I quit the Kappelmeister's opera to do this
39:02because I believe in it.
39:04And I believe in you, but it does need to go well.
39:06You understand?
39:07Yes.
39:07Now, what do we say?
39:09We say, fuck them all. Yes?
39:11Fuck them all. Yes.
39:13Fuck them all. Good boy.
39:14No.
39:15What are you doing? Turn around.
39:17Sorry. Sit down.
39:19I don't want to let's go already.
39:20What do we do?
39:32I don't want to let go of you.
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