- 10 hours ago
Amadeus S01E01 (2025)
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00:00The End
01:00Oh, no. I didn't send to you.
01:22Your footman found this on your person.
01:26It's meant to be read posthumously.
01:30And as the snow broke your fall and you didn't cut your throat deeply enough to bleed to death.
01:34I respected your wishes and I haven't opened it.
01:39Read it.
01:41I am an old woman.
01:43Antonio pulled from my bed and made a walk through the cold.
01:48But I'm here now.
01:49So why don't you just tell me whatever it was you wanted to tell me?
01:55Face to face.
01:56What is it?
02:09It's a confession.
02:15It sounded lovely.
02:45Oh, thank you.
02:47Composing something new.
02:49Oh, a commission?
02:50No, no.
02:51A speculative work.
02:52Thank you, Bruno.
02:53Actually, I'm going to show some to the emperor today.
02:57I 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.
03:03How could he turn it down?
03:04How could he turn it down?
03:17F sharp, your majesty.
03:18Yes.
03:19You see, the problem with that note is that it's too difficult to arrive at from the note that precedes it.
03:28Who wrote this?
03:29I did, Matt.
03:29You see, it's a new piece.
03:32Did you not consider that the F sharp was almost impossible to ascend to from here?
03:36It seemed, at the time, as if it were the correct direction to take.
03:40Well, perhaps a reconsideration is in order.
03:42Perhaps, your majesty, yes.
03:49That's enough for today, I think.
03:50Just take a look at the F sharp, will you?
03:52Of course, your majesty, yes.
03:55You know, I have plans, Antonia.
04:00Reforms.
04:01Economic, cultural, social, religious.
04:05Reforms, the likes of which I do not believe have been attempted before.
04:08The thing with change, though, is that people aren't very keen on it.
04:12Even if it's in their best interest.
04:13So, I shall need every trick at my disposal.
04:19Do you know what opera is?
04:22Yes.
04:23Well, what do you think it is, sir?
04:26Power.
04:29Kings and queens, friends and foes, they will all come here.
04:33They will see our palaces, they will see our armies, and they will see our operas.
04:37Grander and finer than anything that London, Prague, or St. Petersburg has to offer.
04:42I cannot overstate its importance to the empire.
04:45Of course, your majesty, and it's an honor to serve the crown.
04:48Good.
04:49So, I would like you to put on a remake.
04:51Remake?
04:51Hmm.
04:52Your, uh, your opera, Terrare.
04:55The French one.
04:56I'd like a version for us.
04:58But, uh, not in French, though.
04:59Do it in Italian.
05:01Yes, I, I, I could rather have my sights set on newer compositions.
05:05Well, save them.
05:07A return to past successes is what's needed in delicate times.
05:11You're a godly man, hmm?
05:13You believe that he speaks through your music?
05:16I believe he does, sir, yes.
05:18Well, I need you to be my voice, too, Salieri.
05:21Do you have room for us both?
05:22Of course.
05:23Of course.
05:23You seem tired today.
05:45I stayed up reading.
05:47Well, consider not doing that anymore.
05:50I have a new commission from the Emperor.
05:52It's an old opera of mine, originally in French, to be remounted in Italian and staged here,
05:58and I would very much like you to take a role in it.
06:02I'm a core composer. I would be honored.
06:06What opera is it?
06:07Tarare.
06:10Tarare?
06:10Tarare?
06:12It was very popular.
06:13I'm not sure I know it.
06:18Well, anyway, we're doing it again.
06:22I thought you were writing something new.
06:27Oh, put on hold.
06:30Now you go home and try to get some rest.
06:32Well, I will tonight, but Friday, it's Baroness's party.
06:37Oh, I've forgotten all about her.
06:39Did you hear? She has a secret performer.
06:42Who?
06:42Well, it's a secret, isn't it?
06:44But I've heard it might be Mozart.
06:47The travelling maestro wrote his first aria in the womb and all of that.
06:55Are you not intrigued?
06:58At least to meet him.
07:00I've met my fair share of prodigies in my time.
07:04Can't say I remember many of their names now, though.
07:08Oh, yes, this could be him.
07:11He's not going to be your man, is he?
07:12What do you mean?
07:13He's not going to be raucous.
07:14Do you think we'll have a lot of things?
07:16God, where are we going to put them all?
07:17We'll just not put them in my room.
07:18Of course he's not putting them in your room.
07:20Do you think he's going to be hamster?
07:21Oh, sure, sure.
07:24Oh, hello.
07:27Oh, it's not a welcome.
07:28Welcome to our...
07:28Oh.
07:34Firstly, I apologise.
07:36It's taking a good day.
07:37So it's two gold in a month for the room and only the room.
07:41One meal a day is included.
07:43And I'll do a monthly wash, but any extra is extra.
07:47Understood.
07:47Why did you throw up?
07:49Sophie, don't be worried.
07:50That's all right, I don't mind, Sophie.
07:52You see, I had quite a bit of wine last night and then a little more this morning.
07:55I think it was that combined with the motion of a carriage, really.
07:59Some letters have already arrived for you.
08:01Have you opened them?
08:02Oh, for my father.
08:03Let's have a look.
08:04Dear Wolfgang, I'm writing to express my displeasure at you finding room and board in a delinquent house of ill-reputed sluts.
08:11I think he's just a bit upset that I've left Salzburg.
08:14I did explain to him that you're not delinquents.
08:16Or sluts, obviously.
08:17Girls' bedrooms are down there.
08:19They all have locks on.
08:20You're up this way.
08:21Why did you leave Salzburg?
08:23Oh, my employer.
08:24I don't like to speak ill of the man, but I once met a stable boy who'd been kicked in the head by a donkey
08:27and I think he had more cognitive aptitude than the Archbishop of Salzburg.
08:31What a lovely house.
08:32Have you been here a long time?
08:34We moved here recently.
08:36My husband passed away and then my beautiful Aloysia got a role at the Imperial Opera, so here we are.
08:42That's marvellous news.
08:43Not about your husband, obviously.
08:45The Imperial Opera?
08:46That's marvellous.
08:47Hope to have my own work performed there one day.
08:49Oh, do you have a commission?
08:50No, just as in.
08:51Assume it won't take too long now that I'm here.
08:54Is this me?
08:54Oh.
08:55Oh.
08:55Oh.
08:56Oh.
08:57Oh, yeah.
08:57Viana.
09:24Wolfgang, I write to you again, imploring you to see sense.
09:32Move to Vienna was not discussed.
09:34It is reckless in the extreme.
09:36Salzburg was the right position.
09:38Apologise to the Archbishop.
09:40Bek your talent which causes me worry.
09:42But your manners.
09:42To say Vienna have destroyed shrewder men than you.
09:44Return to Salzburg.
09:46Let me guide your...
09:47Don't ruin what we have spent so long trying to build.
09:50Mozart?
09:52Wolfgang?
09:54Sorry?
09:54I was asking about the tours you went on when you were younger.
09:57You travelled a lot, didn't you?
09:59Yes, no, everywhere.
10:01England, France, Italy, Vatican.
10:03Exhausting, really.
10:05And your mother and father, they accompanied you?
10:07Yes.
10:09Well, until Mother died, of course.
10:10Oh.
10:11What happened?
10:11When my mother died.
10:15Um, well, we were in Paris and she was unwell.
10:18We meant to return together, but, uh...
10:23Returned alone.
10:32Have you been to the Opera House yet?
10:35Yes, of course.
10:36We went last year when we were visiting the city.
10:38The girl's father wasn't very well, but we still managed to see her meet her.
10:41Do you remember?
10:42Oh, Salieri.
10:43Yes, Salieri.
10:44I thought it was quite wonderful.
10:45Oh, yes.
10:48Oh, you didn't like it?
10:49No, no, no, no.
10:49It was fine.
10:51It was fine.
10:52Constanza thinks herself quite the expert, which is funny.
10:54But she is the least capable vocalist in the family.
10:56Stanzi just has a smaller spectrum of ability, that sort.
10:59Oh, she wanted to be a star soprano when she grew up.
11:01I'm four notes short in my range.
11:02She doesn't reach, so...
11:02These notes.
11:06Right at the top.
11:08Stanzi can't hit them.
11:10Oh, God.
11:10She's just trying and trying and fool about the floods of tears.
11:13I wonder if you hit that high note if I kicked you in the cunt.
11:15Stanzi!
11:15What?
11:16What?
11:17She's starting today!
11:18What?
11:18She's starting today!
11:20She's starting today!
11:20Why did you say that?
11:22You do that now!
11:23Me!
11:23Me!
11:23Me!
11:24Me!
11:24Me!
11:25Me!
11:25Me!
11:26Me!
11:27Me!
11:28Me!
11:29Me!
11:30Me!
11:31Me!
11:32Me!
11:33Me!
11:34Me!
11:35Me!
11:36Me!
11:37Me!
11:37Tears آپ!
11:38notification!
11:39Me!
11:40Me!
11:45Me!
11:46Me!
11:47Me!
11:47Seat 이거를 ...
11:49To finish!
11:49My GUR spirit!
11:53I'm sorry, I love you guys.
11:55Yes!
11:56Yes!
11:57Oh, my!
11:58Yes!
11:59When you never scared me into town,
12:00a truck!
12:01Me!
12:02Oh, I'm sorry.
12:03Five, imagine!
12:04Oh, you're not supposed to be in here.
12:27Treat room.
12:28Don't touch them.
12:29Actually, in my experience, things you're not supposed to touch
12:32are the very things that you should touch first.
12:35And taste?
12:59Oh, that's nice.
13:01It's okay.
13:03Fuck.
13:07A direct hit.
13:08Shit, I have a performance to give.
13:10Katerina Cavaliari.
13:12My name, by the way.
13:13I want you to remember it.
13:14How could I not?
13:16Doodloo.
13:27David Carver.
13:28It was on the surface a simple piece.
13:45But the more you listened, the more the layers presented themselves.
13:50The melody and the harmony alternating seamlessly between right and left hands.
13:56Hands which glanced over the Baroness's forte piano, as if guided by something greater than
14:07himself.
14:08This repulsive creature, playing so explicitly.
14:15What do you think?
14:30fun, no?
14:31Wolfgang Amadeus Mozart.
14:35Antonio Salio.
14:36The court composer?
14:38Yes.
14:38This is incredibly fortuitous.
14:40The whole reason why I came to Vienna was to write for the Imperial Opera.
14:44Well, there's a process to all of that.
14:49I wouldn't be a bit tired.
14:51You must at least be able to get me one meeting with the Emperor.
14:54He's a very busy man.
14:55What could be more important than this?
14:56They're meeting you.
14:58Well, I believe he's currently drawing up plans to ensure our nation's claim on the Kingdom
15:03of Bavaria.
15:04I suppose that might be taking up some of his time.
15:07Please.
15:08Just one meeting.
15:10I'll be forever in your debt, obviously.
15:13Well, there is an opportunity coming up.
15:16It's a duel at the palace against Comente.
15:18The Emperor will be judging the winner.
15:19But it's in less than a week.
15:22There's no time to prepare.
15:23That's loads of time to prepare.
15:24You might start to perform badly, but do you more harm than not performing at all.
15:28I don't.
15:29You don't what?
15:29Perform badly.
15:33Then I shall make arrangements.
15:35Yes.
15:36Thank you so much.
15:37Thank you, Herr Salieri.
15:38Of course.
15:39Pleasure to meet you.
15:39You've just made an excellent evening even better.
15:50Bruno?
15:53Yes, sir.
15:53Ah, Bruno.
15:54I'll forgo dinner tonight.
15:55I mean to compose.
15:56Excellent, sir.
15:57Actually, leave me a small cut of beef and some vegetables on a tray outside the door.
16:01Yes, sir.
16:02And potatoes are in season, aren't they?
16:04They are, sir.
16:05I'll have some of those, too.
16:06And a glass of wine.
16:07There's a brunello that will pair excellently.
16:09But it's young, so open it now.
16:11We'll need time to breathe.
16:12Of course, sir.
16:13No disturbances of any kind.
16:15I believe inspiration will not be in short supply.
16:17And say goodnight to my wife.
16:20I don't think I'll see her this evening.
16:22Right, sir.
16:47Wolfgang.
17:11Constanza.
17:12Everything all right?
17:13It's three o'clock in the morning.
17:14Is it?
17:15Yes, it is.
17:16And most people are asleep.
17:18In the quiet.
17:21Ah.
17:28Did you just write this?
17:31Can I?
17:32Please.
17:40It's quite good.
17:43Quite good.
17:44Is it true what your sister said about you the other night?
17:51My range?
17:52Mm-hmm.
17:54Yes.
17:55I used to dream about it, being a singer.
17:58Call her a chiro soprano.
18:00Wanted to be a star, I suppose.
18:03I agreed with you about Armida, by the way.
18:07All those boring trails.
18:09Only a fool would like something like that.
18:10Well, maybe not calling my sister a fool.
18:13Oh, I wouldn't dream of it.
18:19I felt really sorry hearing about your childhood.
18:22Having to travel around like that.
18:23I was a very happy child.
18:26Were you?
18:26I don't know.
18:32Were you?
18:34No.
18:34Well, I...
18:35I wasn't happy or sad.
18:38I was...
18:38Unremarkable.
18:45Unremarkable?
18:45Mm-hmm.
18:48There are only four notes, Constanza.
18:49But I can't reach them.
18:56Okay, well...
18:58I'm gonna go back to bed now.
19:00Yes, I'll stop playing.
19:03No, don't.
19:04No, don't.
19:05No, don't.
19:06I'm gonna go back to bed now.
19:07No, don't.
19:08Oh, my God.
19:09No.
19:10No, don't.
19:10No, don't.
20:11Oh, good evening.
20:14Did you just walk on the stairs?
20:16No.
20:18Why did you ask?
20:20What time's the duel?
20:21I think it's in about an hour.
20:23Right.
20:25Should you be completely smashed for that?
20:27I'm not completely smashed for that.
20:28I've just had a couple of sharpeners with lunch, honestly.
20:31Pull down one flight of stairs, suddenly everyone's accusing you of being completely smashed.
20:35Hey, excuse me.
20:36It's not too important for you to mess it up.
20:37Sit down.
20:38Sit down.
20:39I'm making you coffee.
20:40Coffee.
20:41Yes, good idea.
20:42Coffee with a little splash of cognac, if you don't mind.
20:44This is excellent.
20:45Truly.
20:46Actually, no, I have to.
20:47What's excellent?
20:48You're adding self-sabotage to all your other character flaws.
20:53I don't have character flaws.
20:54You have almost nothing but character flaws.
20:56The end is in Paris.
20:57It isn't London.
20:58It isn't Prague.
20:59Anywhere else that it isn't.
21:00Wolfgang, I want you to succeed here.
21:04Because if you don't, then you can't pay rent.
21:06I will have to sell my things, prostitute my sisters, and I really like my things.
21:12Tonight isn't a part of game.
21:14It's an audition.
21:17You need these people.
21:25Fuck you.
21:26Very fancy.
21:27Very fancy.
21:28Oh, my gosh, oh, my gosh.
21:29Have you ever met the Emperor before?
21:31No.
21:32Wolfgang, no, I've not met the Emperor before.
21:34Most people don't.
21:35We should have worn a different dress.
21:37Why?
21:38I think you look very comely.
21:39What do you mean, very comely?
21:40Nothing.
21:41I just think you look nice.
21:42That's what you had to say.
21:42No, no, no, you're not helping.
21:43Shh, you're not helping, Wolfgang.
21:45Mozart!
21:48Hello.
21:51Mozart.
21:53Come.
21:56Your Majesty.
21:57Oh, don't need to worry about that.
21:58Oh, sorry.
21:58Yes.
21:59I've heard many stories about your talents.
22:01Can't tell you how keen I am to hear them for myself.
22:04Yes.
22:06And this is?
22:07Your Constanza, Majesty.
22:09I mean, Constanza, Your Majesty.
22:14Very good.
22:15Well, shall we begin?
22:16I'm ready.
22:29All right, then.
22:45Clemente.
22:59Actually, may I have a go at that one first?
23:12Quite like that one.
23:14By all means.
23:15Do you need the music?
23:16No, thank you.
23:29Oh, yuck, who wrote this?
23:44Can I change it?
23:45Feel free.
23:50Oh, my goodness, the F-flop is difficult, isn't it?
23:59Clemente, your response.
24:01Mozart.
24:02Mozart.
24:03Mozart.
24:04Mozart.
24:05Mozart.
24:06Mozart.
24:07Mozart.
24:08Mozart.
24:09Mozart.
24:10Mozart.
24:11Mozart.
24:12Mozart.
24:13Mozart.
24:14Mozart.
24:15Mozart.
24:16Mozart.
24:35Clemente.
24:36Clemente
24:49Come on Clemente!
24:51Come on Clemente!
24:53Come on Clemente!
24:55Come on Clemente!
24:57Come on Clemente!
24:59Come on Clemente!
25:01Come on Clemente!
25:03Do you like that one?
25:05Have you ever seen anything you like to?
25:07Proud on your man!
25:09Proud on your man!
25:11Ladies and gentlemen, round of applause, Mr. Mozart!
25:15Oh, he's Robert young man!
25:17Extraordinary!
25:19Absolutely shitting outrageous!
25:23Mozart! Mozart! Mozart!
25:25Oh well that was memorable!
25:27Never been fucked in a palace before!
25:29A tie after that? Would it have helped if I played upside down?
25:31I can do that you know.
25:33Well God willing I won't die without witness.
25:35You owe me 50 ducats. That prize should have been mine in its entirety.
25:37Wolfgang.
25:39He doesn't mean it sir, he just gets passionate.
25:41The prize wasn't the money Mozart, it was the emperor's favour
25:43and believe you me, you didn't share in that.
25:45Who wants to commission an opera for him?
25:47What?
25:49There was some in the court who thought you might be a little too green
25:53but I convinced them you should be given a go.
25:55I don't know what to say.
25:57Well let us all revel in your temporary silence.
25:59Be here Monday afternoon, 1pm sharp.
26:03We'll discuss plans.
26:05Thank you so much Corkum, thank you.
26:07Of course, of course.
26:09To the emperor!
26:21To the emperor!
26:23To you.
26:24To us.
26:25Is this what you do?
26:27What?
26:28Guess any girl who's nice to you.
26:29Would you prefer for me to not kiss you?
26:31I think it would be improper.
26:33Hmmm, that's not what I asked though.
26:35Oh, I know that's not what you asked though.
26:37Oh, I know that's not what you asked though.
26:39Tell us.
26:45Is this what you do?
26:47What?
26:49Kiss any girl who's nice to you.
26:51Would you prefer for me to not kiss you?
26:54I think it would be improper.
26:58That's not what I asked her.
27:00Oh, I know that's not what you asked her.
27:03If you don't tell me not to kiss you, then I'm going to kiss you.
27:06I'm not going to tell you not to kiss me.
27:08Oh, my goodness, I can't listen to her anymore.
27:11Mother!
27:13Constanza.
27:13Hello.
27:14Wolfgang.
27:15Have you been listening the whole time?
27:17One rule I have, Wolfgang, I will not allow wickedness under this roof.
27:20I will not have my girl's reputations damaged.
27:23If you break this rule, I will throw you out of this house myself
27:25and chop up your instruments for firewood.
27:27Do you understand?
27:28Yes, very well, but yes.
27:31So, it is late and it would do it all well to go to our separate rooms.
27:36Yes, my lord.
27:37Yes.
27:38Good night, Wolfgang.
27:47Another letter for you.
27:49From your father.
27:50You know, you really should write back to him.
27:53Or I will.
27:53You should have seen the look of Clementa's face.
28:09I can see the go.
28:10He's swept.
28:11Oh, here he is.
28:12Very boring.
28:13Good afternoon, Your Majesty.
28:15Ah, Mozart, do come in.
28:16So, Herr Mozart, congratulations on your commission.
28:20We're all very intrigued to see what you can do.
28:23Now, I'd like to start by talking about possible themes which...
28:26Oh, I already have an idea.
28:27Oh, really?
28:29Yes, very excited about it, actually.
28:31But first of all, just to say, this will be an opera in German.
28:34True.
28:35Yes.
28:36Not Italian?
28:37Well, I just thought it would be nice if the audience could understand what was being sung for once.
28:41I haven't always found that to improve the experience.
28:43All right.
28:46What's your idea?
28:47Yes, I've written the first act already.
28:49But in terms of story, well, here's the thing.
28:52It's quite daring.
28:53Both in its composition and in its setting.
28:56Setting?
28:56Yes, it takes place in a harem.
28:58A fucking what?
29:00Oh, pardon me.
29:01I'm just excusing.
29:03It's set where?
29:05A harem.
29:05A whorehouse.
29:06A seraglio.
29:07And you consider this appropriate?
29:09Yes.
29:09I mean, it's funny, it's different.
29:12I can assure you there won't be any inappropriateness.
29:15And, of course, it will contain many fine German virtues.
29:21And what are those, exactly?
29:22Being Italian, I'm not sure.
29:24Yes, come on, let's up.
29:26Name us a proper German virtue.
29:29Um.
29:32Well, love, sir, I suppose.
29:34But this feels like a risk.
29:37I'll say.
29:39Well, we already have Antonio redoing his terraria.
29:45I think we can probably afford to be a bit exciting with this one.
29:49Give it a short run.
29:50Low costs.
29:51There doesn't seem to be too much risk there.
29:53Thank you, Your Majesty.
29:55Thank you, Mozart.
29:55Oh, thank you so much.
30:05Dear Lord, please speak through me.
30:11Please use me as you have used me before.
30:13Let me be your vessel.
30:18Let me be your voice.
30:24Speak.
30:24Speak.
30:26Speak.
30:28Well, one heart excels at least.
30:43Well, one heart excels at least.
30:56Bravo.
30:57Bravo.
30:58That'll do for today.
31:00Thank you, court composer.
31:02Thank you, sir.
31:04Bravo, court composer.
31:05Sounding magnificent.
31:07Don't.
31:08Don't pretend it's something it's not.
31:10I know you know.
31:12Anyone in this city, you know.
31:14I mean, it doesn't disgrace you at least?
31:16I have done better work than this.
31:18I'll meet her.
31:18Now, there was an opera.
31:20There was an opera, yes, indeed.
31:22I'm trying to compose something new, but it's not coming to me.
31:26I've had dry spells before.
31:28The voice leaves me for periods, but it always comes back.
31:33But you can't help fear.
31:37What if?
31:40What if?
31:44What if?
31:44What if it doesn't come back?
31:47Wait there a moment.
31:49Oh, no.
31:54Oh, no.
31:56As a thank you.
31:57A bit strong.
32:06It used to be that I could find his voice as easily as I found my own.
32:11His?
32:14God's.
32:16Oh, yes.
32:17Him.
32:17You don't believe what we do is divine.
32:21This, this is a gift that's given to us, no?
32:26Music is the closest man gets to conversing with God.
32:29And if this is a conversation with God, I'm not composers the one speaking in his voice.
32:32Let's have a look.
32:37Let's have a look.
32:37I mean, a few lines and dots.
32:44It's just instructions, isn't it?
32:47Mathematical instructions.
32:49I mean, are these methods to capture the voices of angels or merely a command to an oboe player?
32:54I believe it's more than that.
32:58I believe it must be a holy gift.
33:00Holy gift?
33:02I mean, say it is God who gives us this.
33:06Fucking hell, I wish he'd leave me alone sometimes.
33:08It's constant.
33:09The bombardment.
33:10The arrangements.
33:11The variations.
33:12I mean...
33:13What's he trying to say with it all?
33:24It'll be full in a week.
33:28The watchers come to accept our offerings.
33:31I keep having this dream.
33:43I'm walking through my house and I hear a noise and I look out and I see that there's an audience watching me.
33:51And I watch as I sleep and eat and drink and perform all the human acts a man might perform.
34:01And they applaud at the end.
34:02At the end, they applaud.
34:07But they never stand.
34:10And it kills me.
34:14They like it well enough.
34:17My little performance.
34:20I know that when they leave the theater and they return to their homes, the memory of me will fade.
34:29I used to write all night long.
34:31Pages upon pages of music just flowing.
34:40Not anymore.
34:46Oof.
34:47My goodness.
34:49Sorry.
34:52Sounds like you're a little bit blocked, Herr Salieri.
34:55Maybe you need to try to flush the pipes out somehow.
34:57How do you mean?
35:03Noticed you were paying Frau Cavalieri a bit of extra attention just now.
35:10So?
35:12Maybe you need to try a different kind of night music, chord composer.
35:16See if that helps.
35:17Night music.
35:37Night music.
35:37No.
36:07Hello.
36:34Hello.
36:34Just checking, you're all right?
36:36Not drinking yourself into a super or anything.
36:39No, I'm all right, thank you.
36:42Oh, yes, another one.
36:49Your father.
36:51Will he be there tonight?
36:53No.
36:56Well, fuck him then.
37:00Goodbye.
37:00Goodbye.
37:05Bye.
37:06Bye.
37:07Bye.
37:08Bye.
37:09Bye.
37:10Bye.
37:11Bye.
37:12Bye.
37:13Bye.
37:14Bye.
37:15Bye.
37:16Bye.
37:17Bye.
37:18Bye.
37:19Bye.
37:20Bye.
37:21Bye.
37:22Bye.
37:23Bye.
37:24Bye.
37:25Bye.
37:26Bye.
37:27Bye.
37:28Bye.
37:29Bye.
37:30Bye.
37:31And
38:02Have a great day.
38:03...
38:33Bravo, bravo. Well done. Excellent performance.
38:41Ah, my dear. You were radiant.
38:43Thanks, my majesty.
38:44Bravo. Bravo.
38:49That was...
38:51Well, that was very interesting.
38:54And new. Felt very new.
38:56Thank you, majesty.
38:57Although, of course, perhaps not without its faults.
39:00Though, uh, I'm sure that's only to be expected.
39:03Faults, your majesty?
39:05Well, yes, um...
39:07Yes, it just felt at times that there were...
39:10Well, perhaps there were just...
39:14Too many notes.
39:18Too many notes?
39:20Yes, too many notes.
39:21There are only so many notes that an audience can listen to
39:24of an evening before one cannot take any more.
39:27It did feel at times as though one was being slightly bombarded...
39:31With notes.
39:32With notes, yes.
39:34You agree, court composer?
39:40Yes, your majesty, you're not wrong.
39:44A piece can become too busy.
39:46It's a mistake a young composer can easily make.
39:49Well, it was a very fine opera, all the same.
39:54Just, perhaps, remove some of the notes and it'll be perfect.
39:58Yes.
40:00Which notes, uh, did you have in mind, emperor?
40:02One more round of applause for our young composer.
40:09Yes.
40:09And finally, performance.
40:11Hey, Salieri.
40:24How could you do that?
40:25What?
40:26Why didn't you stand up for the music?
40:28It's politics, my son.
40:29You can't disagree with the emperor.
40:30I didn't ask why you didn't stand up for me.
40:32I asked why you didn't stand up for the music.
40:34It was perfect.
40:35How could you stand there as a composer and just agree with him?
40:39He liked the piece.
40:40I'm sure there'll be another.
40:42Take the victory.
40:43You know, just because you're stuck rehashing boring old operas doesn't mean I have to be.
40:48Maybe God doesn't speak to you because you fucking bore him.
41:10Too many notes.
41:22Ridiculous criticism.
41:24The emperor couldn't hear it.
41:25Most people couldn't hear it.
41:27But I could.
41:28I could hear even then what he was and what he would become.
41:37It wasn't then, though.
41:38It was later, a month or so later, at a performance in the palace gardens.
41:44Excuse me.
41:45Sorry.
41:46Sorry I'm late.
41:47Excuse me.
41:48Excuse me.
41:50Sorry.
41:50He managed to get in one final insult.
41:54Delivered as only he could.
41:56Ladies and gentlemen, we would like to begin with a new composition.
42:12It's a modest piece, but I wrote it in the small hours of the night, as if a voice was
42:17speaking to me.
42:19And only to me.
42:20If you look under your chairs, the details are on the back of your programs.
42:36Perhaps it was in that moment I knew what I was going to do.
42:41The moment you knew you were going to do what?
42:43I was going to kill Wolfgang Amadeus Mozart.
42:50Yes.
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