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sir.
Of course not.
You're a good girl.
You're kind to do it.
Next time they're out of the house. . .
. . .let me know.
Thank you, sir.
I think I found out
about the money.
Yes? What?
He kept seven snuff boxes in here.
I could swear they were all gold.
And now look.
There's only one left.
Where does he work?
I have just heard some news
that may be of interest to you.
What?
Mozart is writing a new opera.
An Italian opera.
Italian?
That's not all.
He has chosen for his subject, Figaro.
The Marriage of Figaro.
He is setting that play to music?
Yes.
What is this Marriage of Figaro ?
It's a French play, Kapellmeister.
It has been banned by the emperor.
You're absolutely sure?
Gentlemen, sit down.
Are you aware that I have declared
the French play of Figaro...
. . .unsuitable for our theatre?
Yes, sire.
Yet we hear you're making
an opera from it.
Is this true?
Who told you?
It is not your place to ask questions.
Is it true?
Yes.
I admit it is.
Would you tell me why?
Majesty, it is only a comedy.
What you think. . .
. . .is scarcely the point.
It's what His Majesty thinks
that counts.
I am a tolerant man.
I do not censor things lightly.
When I do, I have good reason.
Figaro...
. . .is a bad play.
It stirs up hatred between classes.
In France it has caused
nothing but bitterness.
My sister Antoinette writes me
that she is beginning. . .
. . .to be frightened of her own people.
Sire, I swear to you,
there's nothing like that in the piece.
I took out everything
that could give offense.
I hate politics.
I'm afraid you're
rather innocent, my friend.
In these dangerous times. . .
. . .I cannot afford to provoke
our nobles or our people. . .
. . .simply over a theatre piece.
Majesty, this is just a frolic.
A piece about love.
Love.
Again!
And it's new!
It's entirely new. It's so new
that people will go mad for it.
I have scenes. . . .
The end of the second act,
for example. . . .
It's a simple duet. . .
. . .just a husband and a wife quarreling.
Suddenly. . .
. . .the wife's scheming little maid
comes in. It's a very funny situation.
Duet turns into trio.
The valet enters.
He's plotting with the maid.
Trio turns into quartet.
Then a gardener comes in.
Quartet becomes quintet,
and so on and on. . .
. . .sextet, septet, octet.
How long do you think
I can sustain that?
I have no idea.
Guess.
Guess, Your Majesty.
Imagine the longest
it could be sustained. . .
. . .then double it.
Well. . .
. . .6?
7 minutes.
8 minutes?
20, sire! 20 minutes!
20 minutes of continuous music.
No recitatives!
Only opera can do this.
In a play, if more than one person
speaks at once. . .
. . .it's just noise.
No one can understand a word.
But with opera, with music. . . .
With music you can have 20 individuals
all talking at the same time.
And it's not noise.
It's a perfect harmony!
Music is not the issue.
No one doubts your talent. It's your
literary judgment that's in question.
Even with the politics taken out of it,
it would still remain a vulgar farce.
Why waste your spirit on such rubbish?
Surely. . .
. . .you can choose more elevated themes.
Elevated!
What does that mean, elevated?
I am fed. . .
. . .to the teeth with these. . .
. . .elevated things.
Old dead legends.
Why must we go on forever. . .
. . .writing only about gods and legends?
Because they do.
They go on forever.
At least what they represent:
the eternal in us.
Opera is here to ennoble us, Mozart.
You and me,
just the same as His Majesty.
Come on now, be honest!
Who wouldn't rather listen
to a hairdresser than Hercules?
Or Horatius or Orpheus.
So lofty, they sound as if
they shit marble!
What!
Govern your tongue, Mozart,
how dare you!
Forgive me, Majesty.
I'm a vulgar man.
But, I assure you,
my music is not.
You are passionate, Mozart. . .
. . .but you do not persuade.
Sire, the whole opera is finished.
You know how much work I did?
His
Амадей Амадей

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