Page 1

JOHN CORIGLIANO

THE GHOSTS OF VERSAILLES A Grand Opera Buffa in Two Acts

Suggested by La Mère coupable of Pierre-Augustin Caron de Beaumarchais

libretto by William M. Hoffman

Full Score Act II

From the G. Schirmer Rental Library Date of Printing________________


Important Notice

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Performance material available on rental.


CONTENTS

Act I (bound separately) Prologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Scene 5, Finale . . . . . . . . . . . . . . . . . . . . . 219 Act II Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Scene 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Scene 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Finale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

SYNOPSIS The Ghosts of Versailles is set in Marie Antoinette’s private theater at Versailles in the present. The ghost of the playwright Beaumarchais, author of The Barber of Seville and The Marriage of Figaro, has fallen madly in love with the ghost of the executed Queen Marie Antoinette, who after two centuries still grieves for her lost life. Although Beaumarchais’ love is unrequited, he offers to cure the queen’s melancholy by means of a performance of his new opera, which has the power to change history. It features the latest exploits of Figaro and the Almaviva family, who attempt to save the queen from death in the French Revolution by effecting her escape from prison and transporting her to America. The other ghosts warn Beaumarchais that this will endanger his immortal soul, but he wishes only Marie Antoinette’s happiness. Through Beaumarchais’ willingness to sacrifice himself during a performance of his opera, Marie Antoinette realizes the depth of his love for her and learns to love him. Just as Beaumarchais is about to unsuccessfully save Marie Antoinette, she rejects “salvation” and allows history to continue as it was. The two are joined for eternity.


CHARACTERS (in order of appearance) Ghosts: WOMAN WITH HAT, elegant woman in her thirties . . . . . . . . . . . . Mezzo-soprano LOUIS XVI, slow, self-important, in his late thirties. . . . . . . . . . . . . . . . . . . . . Bass MARQUIS, Louis’s young confidant, a dandy . . . . . . . . . . . . . . . . . . . . . . . . .Tenor TRIO of GOSSIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S.S.A. JADED ARISTOCRATS AT THE OPERA (Ghost Quartet) . . . . . . . . . . . . . S.A.T.B PIERRE-AUGUSTIN CARON de BEAUMARCHAIS, author of The Barber of Seville and The Marriage of Figaro, passionate, quick, middle-aged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Baritone MARIE ANTOINETTE, soulfully beautiful, vulnerable, warm, yet willful, in her thirties . . . . . . . . . . . . . . . . . . . .Lyric or Lirico-spinto Soprano Players in the Opera: FIGARO, Count Almaviva’s wily servant, middle-aged . . . . . . . . . . . Lyric Baritone SUSANNA, Figaro’s loyal but independent wife, middle-aged . . . . . . . . . . . . . . . . . . . . . . . Mezzo-soprano or Mezzo-contralto COUNT ALMAVIVA, a proud, stubborn Spanish aristocrat, middle-aged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Tenor ROSINA, his still-beautiful, grieving wife, in her forties . . . . . . . . . . . Lyric Soprano LÉON, Rosina’s son by Cherubino, about twenty . . . . . . . . . . . . . . . . . Lyric Tenor FLORESTINE, Almaviva’s daughter, about twenty . . . . . . . . . . . . . . . . . . . . High Lyric or Lyric-Coloratura Soprano PATRICK HONORÉ BÉGEARSS, Almaviva’s treacherous friend, middle-aged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dramatic Tenor WILHELM, doltish young servant of Bégearss . . . . . . . . . . . . . . . . . . . . . Baritone CHERUBINO, a former page of Almaviva, handsome, in his late teens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyric Mezzo-soprano SULEYMAN PASHA, Turkish ambassador, heavy, bald, middle-aged or older . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bass ENGLISH AMBASSADOR, distinguished older gentleman . . . . . . . . . . . Baritone SAMIRA, sultry Egyptian singer . . . . . . . . . . . . . . . . . . . . . . . . . . . Mezzo-soprano DUCHESS, (living version of Woman with Hat) . . . . . . . . . . . . . . . Mezzo-soprano (sung by WOMAN WITH HAT) LIVING MARIE ANTOINETTE, careworn figure of David’s portrait, humbled by great suffering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soprano (acted part with written vocal line sung by an Ensemble Soprano) ENSEMBLE of MULTIPLE SUPPORTING ROLES Minimum Ten singers . . . . . . . . . . . . . . . . . . . . . . . . . . . (4 S., 2 M-s., 2 T., 2 Bar.) Pursuers of Figaro, Turkish Duelists, Page, Dancing and Harem Girls, “Rhieta” Players, Acrobats, Revolutionary Guards, Revolutionary Women, Courtiers, Dancers, Prison Guards, Prisoners, Soldiers.

TIME: The present and the autumn of 1793. PLACE: Marie Antoinette’s theater in the Petit Trianon, Versailles


PRODUCTION NOTE The basic premise of The Ghosts of Versailles is that a group of ghosts is watching an opera. Because of this structure, the opera takes place on three planes of reality: 1) The world of eternity, inhabited by ghosts 2) The world of the stage, populated by dramatic characters 3) The world of history, populated by mortals Our opera begins in the ghost world, which is the most fantastic and the most contemporary. It enters the stage world when spectral playwright Beaumarchais raises the curtain on A Figaro for Antonia, the buffa-withinthe-opera that he has written to amuse Marie Antoinette two hundred years after their deaths. The ghostly characters watching the onstage production are fantasy creatures themselves. If the makeup or costumes of the onstage characters outdo those of the ghosts, or if the sets are too ambiguous or surrealistic, it will be difficult for the audience to distinguish among the worlds. Therefore, the production on the stage-within-a-stage should almost always be more realistic than the ghost world. The ghost and the stage worlds are distinct until the second scene of Act II, when Beaumarchais enters the opera-within-the-opera and Figaro is summoned by Marie Antoinette to the afterworld. At that point the two worlds blend and we enter a third realm: the historical (or objective) universe of the Paris streets, the Almaviva ballroom, and the Place de la Révolution. The scenic design of this last world should be grand operatic: representational sets, realistic costumes. The Ghosts of Versailles represents a journey from the most fantastic to the most realistic. In the last scene, however, all three planes are juxtaposed: the historical Marie Antoinette is executed in the Place de la Révolution, the cast of A Figaro for Antonia makes their escape to London in a balloon, and the ghosts of the queen and Beaumarchais walk off together into the land of eternal delight—the gardens of Aguas Frescas. —W.M.H.


The Ghosts of Versailles was commissioned by the Metropolitan Opera Company for its 100th anniversary. The first performance took place on 19 December 1991 at the Metropolitan Opera House James Levine, conductor

A DVD of the Metropolitan Opera’s 10 January 1992 performance conducted by Maestro James Levine is available from www.metoperashop.org.

CAST Marie Antoinette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Teresa Stratas Woman with Hat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jane Shaulis Louis XVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .James Courtney Marquis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Drews Trio of Gossips: . . . . . . . . . . . . . . . Betsy Norden, Kitt Reuter-Foss, Wendy Hoffman Jaded Aristocrats at the Opera (Ghost Quartet): . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lauren Flanigan, Sondra Kelly, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Best, Kevin Short Beaumarchais . . . . . . . . . . . . . . . . . . . . . . . . . . . . Håkan Hagegård Figaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gino Quilico Susanna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Judith Christin Count Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Kazaras Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Renée Fleming Florestine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tracy Dahl Léon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Neil Rosenshein Bégearss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Graham Clark Wilhelm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wilbur Pauley Cherubino. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stella Zambalis Suleyman Pasha . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ara Berberian English Ambassador . . . . . . . . . . . . . . . . . . . . . . . .Philip Cokorinos Samira . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marilyn Horne Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Colin Graham Set and Costume Designer . . . . . . . . . . . . . . . . . . . . . John Conklin Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gil Wechsler Choregrapher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debra Brown Technical Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joseph Clark


The reduced orchestration of The Ghosts of Versailles was created by John David Earnest on commission from Opera Theatre of Saint Louis for its Thirty-fourth Festival Season and was made possible with a generous leadership gift from The Andrew W. Mellon Foundation with major support from the Susan and Elihu Rose Foundation, the National Endowment for the Arts, Mrs. Walter F. Brissenden, and the estate of Colin Graham. With special thanks to Centene Corporation, lead corporate sponsor The world premiere of the opera with its reduced orchestration was given on 17 June 2009, at Opera Theatre of Saint Louis with members of the Saint Louis Symphony Orchestra, Michael Christie, conductor

CAST Marie Antoinette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maria Kanyova Woman with Hat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erin Holland Louis XVI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Glavin Marquis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Park Trio of Gossips: . . . . . . . . . . . . . . .Megan Radder, Corinne Winters, Candra Savage Jaded Aristocrats at the Opera (Ghost Quartet): . . . . . . . . . . . . . . . . . . . . . . . . .Catherine O’Rourke, Melody Wilson, . . . . . . . . . . . . . . . . . . . . . . . . . . .Zach Borichevsky, Matthew Young Beaumarchais . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Westman Figaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Feigum Susanna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dorothy Byrne Count Almaviva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sean Panikkar Rosina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hanan Alattar Florestine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeanette Vecchione Léon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Samuel Read Levine Bégearss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew DiBattista Wilhelm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lee Gregory Cherubino. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paula Murrihy Suleyman Pasha . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven Humes English Ambassador . . . . . . . . . . . . . . . . . . . . . . . . . . . .James Ivey Samira . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Elizabeth Batton

Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Robinson Set Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allen Moyer Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . James Schuette Video Designer. . . . . . . . . . . . . . . . . . . . . . . . . . Wendall Harrington Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Palazzo Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Seán Curran


INSTRUMENTATION (Full Orchestra Version) 3 Flutes (2nd and 3rd doubling Piccolo) 3 Oboes (3rd doubling English Horn) 3 Clarinets (1st on B ; 2nd on B and A; 3rd on B , A, E and Bass Clarinet) 3 Bassoons (3rd doubling Contrabassoon) 4 Horns in F 4 Trumpets in C 3 Trombones Tuba Timpani Percussion (4 players): I: Vibraphone (bow required), Xylophone, Glockenspiel (bow required), Tambourine, Crotales, Wind Machine, Chimes, Suspended Cymbal II: Glockenspiel, Chimes, Slapstick, Temple Blocks, Bell Tree, Ratchet, Vibraphone (bow required), Tambourine, Crotales, Suspended Cymbal, Triangle, Thunder Sheet, Bass Drum, Castanets, Snare Drum, Xylophone, Tenor Drum III: Vibraphone, Crotales (bow required), Bell Tree, Tambourine, Suspended Cymbal, Temple Blocks, Lion’s Roar, 3 Tom-toms, Snare Drum, Tenor Drum, Low Drum, Castanets, Triangle, Ratchet, 2 Dumbec Drums, 2 Wood Blocks, Anvil, Large Bass Drum IV: Suspended Cymbal, Snare Drum, Small Tamtam, Low Gong, Bell Tree, Large Bass Drum, Tenor Drum, Low Drum, Tambourine, 2 Wood Blocks, Temple Blocks, Triangle, Wind Machine, Ratchet

Synthesizer Piano/Celesta Harp Strings Note: The original production included players appearing in ensembles on stage: On Stage Players: Harpsichord, Mandolin, Guitar, Harp, 1 Violin, 1 Viola, 3 Cellos, 2 Basses Rhieta Band: (Act I, Scene V) Oboe, 2 Percussion Ball Orchestra: (Act II, Scene V) Flute, 1 Violin, 1 Viola, 1 Cello Marchers: (used throughout) 2 Horns, 2 Trumpets (optional), Percussion (ad lib.) This edition incorporates these parts into the Pit Orchestra musicians’ materials.


INSTRUMENTATION (Reduced Orchestra Version)

2 Flutes (both doubling Piccolo) 2 Oboes (2nd doubling English Horn) 2 Clarinets (1st on B and A; 2nd on B , A, E , and Bass Clarinet) 2 Bassoons (2nd doubling Contrabassoon) 2 Horns in F 2 Trumpets in C 2 Trombones Timpani: also plays Tambourine, Large Tamtam, Roto-tom, Bass Drum, and Ratchet

Percussion (3 players): I: Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone (bow required), Triangle, Xylophone, Wind Machine II: Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, Triangle, Xylophone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, Wood Blocks, Anvil, Chimes, Lion’s Roar, Slapstick III: Bass Drum, Crotales (bow required), Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, Wood Blocks, 2 Dumbec Drums, Crash Cymbals, Low Drum, Low Gong, Small Tamtam

Synthesizer Piano/Celesta Harp Strings (6.6.4.4.3 players) Note: Parts played by onstage musicians in the original version of the opera are incorporated into the Pit Orchestra parts in the Reduced Version.


ROLE DISTRIBUTION FOR CASTING WITH MINIMUM NUMBER OF SINGERS 14 Principals (soloists playing one role only) Florestine Marie Antoinette Rosina Susanna Léon Almaviva Bégearss Figaro Beaumarchais Louis 1, 7

4 Sopranos 4 Gossip 1/Pursuer of Figaro 1/5 Dancer 1 (Pursuer at Turkish Embassy 1)/6 Rev. Woman 1/Finale Pursuer 1 4

Gossip 2/Pursuer of Figaro 2/ 5 Dancer 2 (Pursuer at Turkish Embassy 2) /Rev. Woman 2/Finale Pursuer 2 Pursuer of Figaro 3/Pursuer at Turkish Embassy 4/Rev. Woman 3/Finale Pursuer 3 Embassy Pursuer 5/Madeléine (Almaviva Guest 1)/Living Marie Antoinette/Finale Pursuer 4

Ghost Quartet (SATB)

4 Associate Principals (soloists playing one main role among other supporting roles) Cherubino (also: Pursuer of Figaro 5 / P u r s u e r a t Tu r k i s h E m b a s s y 6/2 Revolutionary Woman 5 Samira (also: Pursuer of Figaro 6/ Revolutionary Woman 6) Wilhelm (also: Other Man (Pursuer of Figaro 9)/(Pursuer at Turkish Embassy 10)/3 Juror 2/Finale Pursuer 10)

2

(soloists playing multiple supporting roles)

Suleyman Pasha (also: Muscovite 3/Juror 4/ Prisoner 1/Finale Pursuer 12 Ensemble Players:

2 Mezzo-sopranos Gossip 3/Pursuer of Figaro 4/5 Dancer 3 (Pursuer at Turkish Embassy 3)/Rev. Woman 4/Finale Pursuer 5 4

Woman with Hat (Wagnerian)/Almaviva Guest 2/Duchess/Finale Pursuer 6 2 Tenors 1, 7 Marquis/Man on Ladder (Pursuer of Figaro 7)/Page with Crotale (8 Pursuer at Turkish Embassy 7)/9 Juror 1/Guard 1 (Finale Pursuer 7) Swordsman 1 (Pursuer at Turkish Embassy 8)/Bishop (Almaviva Guest 3)/Prisoner 2/ Guard 2 (Finale Pursuer 8) 2 Baritones Muscovite 1 (Pursuer of Figaro 10)/ English Ambassador (Pursuer at Turkish Embassy 9)/ Young Man (Almaviva Guest 3)/Guard 3 (Finale Pursuer 9) Muscovite 2/Swordsman 2 (Pursuer at Turkish Embassy 11)/Juror 3/Finale Pursuer 11

1

Requires Ghost Quartet to cover Gossips’/Marquis’ lines in Act 2, Scene 5, at 57 and 5th measure of 65 . Act 2, Scene 2: also covers Mezzo Citizen from 2nd measure of 37 and ad libs Citizen shouts. 3 Requires Wilhelm to move, visibly in character, from Trial Scene (Act 2, Scene 2) to Bégearss’ “Rat” aria. 4 Requires Gossips to be tacet Act I, 23 — 25 and 104 — 105 ; requires Gossips’ lines to be reassigned to women of Ghost Quartet in Act 1, measures 5-7 of rehearsal number 65 ; requires Gossips’ lines to be reassigned to Dancing Girls in Act I, 7th measure of 141 , and also 10th measure of 143 . 5 Act I, Finale, Dancers 1-3 also cover Embassy Pursuers 1-3. 6 Act 2, Scene 2: also covers Soprano Citizen from 2nd measure of rehearsal number 37 and ad libs Citizen shouts. 7 Requires Marquis to be tacet Act I, rehearsal numbers 23 — 25 ; and for Marquis’ lines to be reassigned to Tenor of Ghost Quartet Act 2, 3rd measure after 3 , 7th measure after 9 , 4th measure after 10 , and 7th measure after 22 . 8 If needed, Page may omit Crotale ossia, Act 1, 2nd measure of 142 . 9 Requires Juror 1 to be designated for Tenor, Act 2, Scene 2, 4th measure of 39 ; also sings Tenor Citizen, 2nd measure of 37 . 2


EXPLANATION OF SYMBOLS Indicates free measures cued by the conductor. The number inside the triangle is the number of “beats” in the bar. (Dotted barlines indicate these “beats.”)

An extension line indicates you sustain the note(s) or pattern for the duration of the line.

Indicates to improvise a figuration between (and including) the two notes. The speed of the figuration is indicated by the slashes. (e.g. two slashes = sixteenths, three slashes = as fast as possible.) for example:

etc.

might be realized as:

etc. Keep the figuration chromatic and constantly changing.

The player should improvise a melodic figure that follows the contour of the line. Vary melodic intervals and avoid diatonic scale patterns.

Indicates to repeat the note in fast, irregular groups for the notated duration. The effect should be similar to Morse Code. The above might be realized as:

Indicates to play the notes as fast as possible for the duration indicated. When the notehead changes to an X, continue the figuration ad lib. in a chromatic, sinewy manner.


ACT II

Scene 1

II – 1

Curtain

non vib.

a2

1 2 cold

Fl.

non vib.

3 cold non vib.

a2

1 2 cold non vib.

Ob. 3

cold non vib.

a2

1 2 cold non vib.

Cl. in B 3

cold a2

1 2 Bn. to Contrabassoon

3 a2

1 2 Hn. in F

a2

3 4 accel.

accel.

1 accel.

Tpt. in C

accel.

2 accel.

3.

accel.

3 4 a2, with straight mute

1 2 3., with straight mute

Tbn.

remove mute

3 Tba. Xyl.

1 Perc.

S.D. (r.s.)

3

Piano

Harp

arco pizz.

0

Vn. I solo arco pizz.

molto

0

Vn. I gli altri arco pizz.

0

Vn. II arco pizz.

1 sola

1 sola

0

Va. le altre

(pizz.)

0

molto arco

2 soli, div.

2 soli

Vc. gli altri arco

(sounds 8ba)

Cb.

Corrected 8/2009 Corrected 8/2014

molto


II – 2

= ca. 48 ** Piccolo

1

Flute 2 to Piccolo

1 2 Fl.

molto

** Piccolo

to Piccolo

3 molto

1.

***

1 2 Ob.

molto

3 molto

1 2 Cl. in B

molto

3 molto

1 2

Bn.

Cbn. open

1 2

Hn. in F

molto open

3 4 molto

1., with straight mute ***

take straight mute

1 2 Tpt. in C

3.

3 4 remove mute

1 2 Tbn.

molto

3 Tba. Glock., bowed

1 Perc.

Vib., bowed

asynchronous

2 Pedal

asynchronous

8va

*

sempre, legato

Synth.

Beaumarchais: (spoken)

Beau. Hurry!…

Hurry!…

(Beaumarchais is trying to begin Act II of his opera, but the ghosts are dawdling over intermission. They are slowly returning to their seats, carrying glasses of wine and chatting animatedly about the opera. One of the ghosts hovers above the stage and then descends into his or her seat.) sul ponticello

ord., free bows 8va

*

Vn. I solo legato ord., free bows

poss.

8va

*

sul ponticello

Vn. I gli altri legato sul ponticello

Vn. II sul ponticello

Va. sola poss.

arco, sul ponticello

Va. le altre

Vc. 2 soli poss.

Vc. gli altri molto

Cb. molto *Continue in exact tempo without conductor after double bar. **Slow, even rallentando, ignoring conductor. ***Play slowly and evenly. Do not align with or match the tempo of Violin I.

It’s late!…


II – 11

Synth.

M.A.

lieve

you.

Florestine Count Almaviva: (to Susanna)

Almaviva 8

3

Tell

me,

where is

that

hus

band

of

yours?

Louis

Beau.

At

last.

Watch.

1 solo, pizz.

I Vn. II 1 sola, pizz.

Va.

3 soli, div. a3

Vc.

gli altri

pizz.

Cb.

7 = ca. 96

Hpschd.

Synth.

A

Harp

Susanna: 3

Susanna

Where have you been? Almaviva 3

8

Fi nal ly. Figaro:

(Figaro enters looking dissheveled.)

Figaro 3

All

o ver.

I was fol lowed.

Louis 3

Fi nal ly.

(spoken)

(to Marie Antoinette)

Beau.

Now

= ca. 96

Figaro comes back.

Lis-ten‌

Figaro

1 solo, arco

I Vn. II 1 sola, arco

Va. (div.) arco

Vc. 2 soli

pizz.

Vc. 1 solo 1 solo, arco

Cb.

1.

1., 2., div., arco


II – 12 (Hpschd.)

Slightly slower

rall.

Synth.

(Figaro takes the necklace out of his pocket. He toys with the necklace and paces. Count Almaviva follows him.)

Susanna

Just give it to him. Almaviva 3

8

3

Just give me the neck lace.

The neck lace.

Figaro

I…

was think ing…

a bout that neck lace.

Beau.

returns the necklace and then he and the Count rescue you from prison.

Vn.

What?

The idiot hasn’t learned his lines.

I

Va. 1.

Vc. 2 soli

8

Synth.

Almaviva 8

To save the

Queen,

id i ot!

Figaro 3

I

said to my self,

why does my mas ter want it?

Why save her?

She’s (spoken)

Louis

I love it! shouts

Beau.

Just give it to him!

How dare he improvise? Singers have no minds. (1 solo)

Vn.

I (1 sola)

Va. (1.)

Vc. 2 soli

Why save her?!


II – 13

(in tempo) accel. poco a poco

(accel.)

Synth.

E G

A

Harp

D F

(Count Almaviva lunges for the jewels.)

Marie Antoinette:

M.A. 3

What?

3

I am in no cent.

Susanna:

Susanna

Fi ga ro!

(getting excited)

Figaro

3

3

spoiled,

ar ro gant,

de ca dent.

And

a trai tor to France.

3

Save your fam’ ly in

Louis

What an idea!

Figaro rebels against Beaumarchais!

Beau.

(in tempo) accel. poco a poco

What?

(accel.)

(1 solo)

I Vn.

cresc.

II (1 sola)

Va. cresc. div., arco

Vc. 2 soli

unis., arco

pizz. cresc.

pizz.

arco

Vc. 1 solo

2 soli, div.

Cb.


II – 14

9

= ca. 108 (accel.)

=

= 112–120 a2

1 2 Fl.

Flute

3

1 2 Ob. 3

1 Cl. in B

a2

2 3

1 2 Bn.

to Contrabassoon

3

1 2

Hn. in F

3 4 with straight mute

1 2 Tpt. in C

with straight mute

3 4 with straight mute

1 2 Tbn.

3. with straight mute

3 Tba.

Timp.

Perc.

1 2 3 4 (Hpschd.)

Synth.

G

Harp

(Figaro dodges him.)

(spoken, to Beaumarchais)

M.A.

Why are you doing this to me? Count Almaviva:

Almaviva 8

I’ll

kill

him!

Figaro

stead. Louis

A theatrical revolution!

Brilliant! (yelling at the stage)

Beau.

Those are not my

words!

= ca. 108 (accel.) (1 solo)

I’ll kill him!

= 112–120 =

I Vn. II (1 sola)

Va.

Vc.

(2 soli, div.)

tutti, pizz.

(1 solo)

tutti, pizz.

(2 soli, div.)

Cb.

tutti, pizz.


II – 15 1 2 Fl. 3

1 2 Ob. 3

1 Cl. in B

2 3

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 remove mute

1 2 Tpt. in C

remove mute

3 4 remove mute

1 2 Tbn.

remove mute

3 Tba.

Timp. 1 2 3 4

Perc.

Synth.

Harp

(overlapping to Figaro)

M.A.

They

Woman with Hat: (applauding)

called

Woman w. Hat

Bra

vo!

Bra

vo!

Marquis: (applauding)

Marquis 8

Figaro

She’s a

vam

pire.

She’s a

vul

ture.

Beau. 1 solo

tutti, unis.

I Vn.

tutti, unis.

II 1 sola tutti, unis.

Va. 2 soli

arco

Vc. 1 solo 2 soli, arco

Cb.

tutti, pizz.

me


II – 16

10

=

a2

1 2 Fl. 3

1 2 Ob.

to English Horn

3

1 Cl. in B

a2

2 3 1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 1 2 3 4

Tpt. in C

1., open

1 2 Tbn. 3 Tba.

1 2 3 4

Perc.

(Hpschd.)

Synth.

Piano

Harp

D

M.A.

that. (spoken)

Woman w. Hat

How cruel! Susanna:

Susanna

Lis ten to me! (spoken)

Marquis 8

What fun!

Figaro

What do

I

care

if

she

los es her head? Louis:

(spoken)

Louis 1 solo

He goes too far. tutti

=

I Vn.

pizz.

II 1 sola

tutti

pizz.

Va. 2 soli

tutti (arco)

Vc.

1 solo 2 soli, arco

Cb.

tutti, pizz.

pizz.


II – 17

Fl.

1 2 3

Ob.

1 2

=

English Horn

E.H.

1 2 Cl. in B 3 1 2

Bn.

Contrabassoon

Cbn. 1., 2., a2

1 2 3 4

Hn. in F

open

1 2 Tpt. in C

open

3.

3 4 (1.)

1.

1 2 Tbn. 3 Tba.

Timp. Xyl.

Perc.

1

Piano

Harp

Florestine:

Florestine

Fi

ga

ro!

Fi

ga

ro!

Fi

ga

ro!

Rosina:

Rosina Susanna:

Susanna Count Almaviva: (spoken)

Almaviva 8

Give me the jewels!

(angry)

Figaro

What pizz.

has the Queen

ev

er

Vn. I solo pizz.

(pizz.)

arco

arco

pizz.

(pizz.)

arco

arco

pizz.

arco

pizz.

pizz.

arco

Vn. I gli altri

Vn. II

arco

Va. sola Va. le altre 2 soli, div., arco

Vc. gli altri, div., arco

(pizz.)

Cb.

arco

done

for =

arco

1 solo

gli altri, pizz.

arco pizz.


II – 18

Fl.

11 1., 2. 3.

1 2 3

marc.

1 Cl. in B

a2

marc.

2 3 marc.

Bn.

a2

1 2

Cbn.

Hn. in F

1 2 marc.

3 4 marc.

1 2 Tpt. in C

marc. 3.

3 4 Tbn.

marc.

1 2 3

marc.

Timp. (Hpschd.)

Synth.

Piano

Harp

secco

Marie Antoinette: (shouts)

(anguished)

M.A.

What have I done to deserve this?

Oh,

Florestine

Fi ga ro!

Fi ga ro

no!

Give him the

Fi ga ro!

Fi ga ro

no!

Give him the

Fi ga ro!

Fi ga ro

no!

Give him the

Rosina

Susanna

Almaviva 8

Give me the

jewels!

Beaumarchais:

Beau.

Who

told

him

to

say

Figaro

Fi

ga

ro?

Vn. I solo Vn. I gli altri

Vn. II arco

Va. sola marc.

Va. le altre

3 soli, arco, non div.

1 solo, arco

Vc. 3 soli

1 solo

2 soli, pizz.

marc.

pizz.

Vc. gli altri pizz.

2 soli

Cb. gli altri

2 soli

that?


II – 19 1 2 Fl.

to Piccolo

Piccolo

3

Ob.

1 2 3

Cl. in B

1 2 3

Bn.

1 2

(a2)

cresc.

Cbn. cresc.

1 2 3 4

Hn. in F

1., 2., 3.

1 2

Tpt. in C

3.

3 4

1 2 Tbn.

Tba.

3 Tba.

Timp. cresc. Xyl.

Perc.

1

Synth.

Harp

cresc. M.A.

What

have

I

done?

cresc. Florestine

Give him

jewels!

the jewels!

Give him

the

jewels!

Give him

the

the jewels!

Give him

the

jewels!

Give him

the

the jewels!

Give him

the

jewels!

Give him

the

cresc. Rosina

Give him

jewels!

cresc. Susanna

Give him

jewels!

Almaviva

Give me

8

Beau. tutti

Vn. I

Vn. II Va. sola

Va. le altre Vc. 3 soli

Vc. gli altri (2 soli)

Cb. (gli altri)

the

jewels!

Give me

the

jewels!

Give me

the


II – 20


II – 21


II – 22


II – 23 2.

Cl. in B

1 2

Bn.

1 2

Cbn. a2

remove mute

a2

remove mute

1 2 Tbn. 3 Tba.

Timp.

Piano

Beau.

free.

The

chil

dren

were sup posed to

mar

ry.

The

vil

lain

was sup posed to

die.

Vc.

Cb.

Slower

rall.

= ca. 76

15 1 2 Fl. 3 3

(2.)

Cl. in B

3

3

3

3

1 2

Bs. Cl.

Bn.

1 2

Cbn. 1. stopped, 2. open

2.

Hn. in F

1 2 3 4 open

Tbn.

1 2

Timp.

Piano

(actual pitch)

Harp

rall. (ignore conductor) dolce

(

Beau.

You

3

were sup posed

to

)

3

3

3

3

I

rall.

al sord.

3

3

3

3

3

dolce

(together with the accompaniment)

flee.

3

Slower

risk my soul

= ca. 76

Va. al sord.

Vc. arco

Cb.

al sord.

for you,


23

II – 41

Scene 2

(HARPSICHORD UNTIL 31 ) 3

3

3

3

3

3

3

Synth.

3

33

3

3

3

Harp

3 3

3

Susanna

I don’t know where he

(to Susanna) 3

went.

3

3

Almaviva 8

Damn that Fi ga ro!

He’s your

hus band.

You

find him. (To Marquis)

Woman w. Hat

He’s looking for Figaro. (to Woman w. Hat)

Marq.

Well, where’s Beaumarchais?

1 solo 3

I Vn. II 1 sola

Va. 3

1 solo

1 3

1 solo

Vc.

2 3

1 solo

3 3

Cb.

Synth.

Harp

(to Rosina and Florestine)

Almaviva 3

8

Find

him,

3

or

3

3

I’ll throw you

out. Rosina:

Come, (spoken)

Rosina (1 solo)

I Vn. II (1 sola)

Va. 1 solo

1 1 solo

Vc.

2 1 solo

3 2 soli, pizz.

Cb.

It’s not Susanna’s fault.

3

3

we have to pre pare for the ball

3

to

night.


II – 42

Synth.

(Count Almaviva and Florestine exit.) Susanna:

dolce

Susanna

On

my moth er’s

Rosina 3

I’ll be

3

a long in

a

mo ment.

3

Almaviva 3

8

3

It looks as

3

if this will be the last

one. (3 soli, div.)

Vc.

(2 soli, div.)

Cb.

24

Synth.

Susanna

grave.

3

3

I swear

3

I

don’t know where he

is.

3

Rosina 3 3

My dear

lit tle Su san

na…

I

be lieve

you.

My hus band is gross ly

un

Synth.

3

3

3

Susanna

And mine is

too.

He

gets us both in to trou ble and then runs a way,

leav ing me to deal with the Count.

Rosina

fair

Mine was al ways dif fi cult, but now he’s im

= ca. 58

rall. Synth.

3

3

3

3

Susanna

Mine used to be

gen tle.

But what’s the use of com plain ing? 3

Rosina

pos si ble.

Mine used to be

lov

ing.

Time

rall. 1 solo, con sord.

Vn.

I 1 sola, con sord.

Va. con sord.

1 Vc. soli

div., con sord.

2 3 2 soli, con sord.

Cb.

chan

= ca. 58

ges

all.


25

II – 43

Duet Andante ( = ca. 58)

1 2 Fl. 3

1.

1 2 Ob. 3

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Synth.

Piano

Harp

Rosina dolce

Susanna

As

sum

Andante ( = ca. 58) I con sord.

Vn. II

con sord.

Va. div., con sord.

Vc. pizz., con sord.

Cb.

mer

brings

a

wist

ful

breeze,


II – 44 1 2 Fl. 3 1 2 Ob. 3 3

1 2 Cl. in B

legatissimo

3

1 2

Bn.

Cbn.

1.

1 2

Hn. in F

3.

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Synth.

Piano

Harp

Rosina

Susanna

Cool

ing

hous

es,

blow

ing

trees,

wo

div., con sord.

I Vn. II

Va. unis.

Vc. arco

Cb.

men

dream

their


II – 45 1 2 Fl. 3

1 2 Ob. 3 3

1 2 Cl. in B 3

1 2

Bn.

Cbn.

(1.)

1 2

Hn. in F

(3.)

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Synth.

Piano

Harp

dolce

Rosina

As

aut

umn

Susanna

bri

dal

days

I Vn. II

Va.

Vc. div. half arco half pizz.

Cb.

brings

its

win

dy

chill

and


II – 46

26 1 2 Fl. 3

1 2 3

3

3

3

3

3

Ob. 3 3

3

1 2 Cl. in B 3 a2

1 2

Bn.

Cbn.

1.

1 2

Hn. in F

3.

3 4 with straight mute

1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

1 2 3 4

Synth.

Piano

Harp

Rosina

wa

ter

freez

es

on

the

hill,

wo

men

Susanna

I Vn. II div.

Va.

Vc. unis., arco

Cb.

love

and


II – 47 Piccolo

27

Slower

Picc.

1 2

Fl.

1 2 Ob. 3 a2

1 2 Cl. in B 3

1 2

Bn.

Cbn. (1.)

con sord.

1 2 Hn. in F

(3.)

con sord.

3 4 1. (with straight mute)

1 2

Tpt. in C

3 4 (with straight mute)

1 2 Tbn.

(with straight mute)

3 Tba.

Timp.

Perc.

1 2 3 4

Synth.

sim.

D CB E FG A

Harp

sim.

espr. Rosina

hate

their

men,

wish

ing

they

were young a

gain.

O

time,

Susanna

1 solo

I Vn. II

unis.

1 sola

Va. le altre 1 solo

2 soli

Vc. gli altri

2 soli

1 Cb.

gli altri

2

Slower

o

time,


II – 48 a tempo ( = ca. 58)

rall.

= Picc.

1 2

Fl.

1 2 Ob. 3

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2 Hn. in F 3 4 1.

1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

1 2 3 4

Synth.

A

Harp

G

Rosina

O

thiev

ing

time,

Give

me

back

my

sto

len

years.

Susanna

rall. (solo)

=

a tempo ( = ca. 58)

As

win

ter

tutti gli altri

I Vn. II le altre (sola)

tutti

Va. (sola) (solo)

1 (2 soli, div.)

Vc.

2 3

gli altri (2 soli, div.)

1 2 Cb. gli altri


II – 49

Picc.

1 2

Fl.

1 2 3

Ob.

3

3

3

3

3 3

3

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 (with straight mutes)

1 2

Tpt. in C

3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Synth.

Piano

Harp

Rosina

Susanna

brings

a

long

er

night,

And

wom div.

I Vn. II

Va.

Vc.

Cb.

en

read

by

can

dle


II – 50

28

to Flute

Picc. 1.

1 2

Fl.

1 2 3

Ob. 3 a2

1 2 Cl. in B 3

1 2

Bn.

Cbn. 1., open

1 2 Hn. in F

3., open

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Synth.

Harp

Rosina:

Rosina

They

come

to

know,

like

sun,

like

rain,

Noth

ing

They

come

to

know,

like

sun,

like

rain,

Noth

ing

Susanna

light,

unis.

I Vn. II div.

unis.

Va.

Vc. pizz.

Cb. div.

(arco)


II – 51

29

=

1 2 Fl. 3

1 2 Ob. 3

1 2 Cl. in B 3

1 2

Bn.

Cbn. con sord.

1 2 Hn. in F

con sord.

3 4 1., with straight mute

1 2 Tpt. in C 3 4 with straight mute

1 2 Tbn. 3 Tba.

Timp.

Perc.

1 2 3 4

Synth.

sim.

Harp

sim.

espr. Rosina

lasts,

not

love

or

pain.

O

time,

o

time,

o

thiev ing time,

o

time,

o

thiev ing time,

espr. Sussana

lasts,

not

love

or

pain.

O

time,

solo (solo)

I Vn. II sola (sola)

Va. solo

solo

Vc.

gli altri

solo

arco, solo

Cb.

solo

=


II – 52 = 1 2 Fl. 3

1 2 Ob. 3

Cl. in B

1 2 3

Bn.

1 2

Cbn.

1 2 Hn. in F 3 4

3 3

1 2

Tpt. in C

3., with straight mute

3

3 4

1 2 Tbn. 3 Tba.

Timp.

Perc.

1 2 3 4

Synth.

G

Harp

A

G

D

A

3

Rosina

Give me

back my

sto

len

years.

Give me

back my

sto

len

years.

O

3

time,

O

time,

O

thiev ing

time,

O

thiev ing

time,

Susanna

(solo)

I Vn. II (sola)

Va. (solo)

1 (solo)

Vc.

2 (solo)

3 (solo)

1 Cb.

(solo)

2

O

time,

O

time,

=


II – 53 Slower

rall. 1 2 Fl. 3 1.

1 2 Ob. 3 1.

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 2.

remove mute

1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

1 2 3 4

Synth.

non arp.

(sim.)

D

Harp

G

Marie Antoinette: (to herself)

M.A.

My

sto

len

years.

Rosina

Give

me

back

my

sto

len

years.

Give

me

back

my

sto

len

years.

Susanna Louis: (spoken to himself)

Louis

rall. (solo)

Oh, let her go.

Slower

tutti, div.

I Vn. II (sola)

le altre

tutte

Va. (solo)

1 (solo)

Vc.

2 tutti

(3. solo)

3 gli altri (solo)

1 Cb.

tutti

(solo)

2 gli altri


II – 54

30 1 2 Fl. 3

1 2 Ob. 3

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Synth.

[Harpsichord]

Piano

Harp

(The women embrace and kiss each other on the cheek.) (Rosina exits.) 3

3

Rosina

And now I must go. 3

(spoken)

(gasp)

3

3

3

3

Susanna

Bless you, ma dam,

bless you. What a kind woman.

Ha!

(Immediately, Figaro enters through a window.)

Where were you?

That’s what you said the

Figaro: (Looking over his shoulder.)

Figaro 3

Quick, I Vn. II

Va.

Vc.

Cb.

hide me!

3

I was fol

lowed


II – 55 1 2 Fl. 3

1 2 Ob. 3

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2 Hn. in F 3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2 Bell Tree

3

3

Synth.

3

Piano

Harp

(Beaumarchais suddenly appears from nowhere behind Figaro’s back.) 3

3

3

Susanna

last time.

I don’t be

lieve

you.

3

O my God,

how did he get in?

It’s witch craft! (to Beaumarchais)

Figaro 3

3

It’s true.

That’s him!

Louis: (spoken)

Louis

Oh, there he is. 1 solo, senza sord.

I Vn. II senza sord. 1 sola

Va. senza sord. 2 soli

Vc.

Cb.

div.

Who

are you, sir?


Scene 5 to Flute

II – 123

57

Picc. = 84

*

1 Fl. 2 1 2

Ob.

E.H. 1 2 Cl. in B 3 1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

1 2 3 4

Synth.

(The peers of Paris—those who have not fled or been thrown in jail or executed— assemble for one last time. Liveried servants take their wraps. The aristocrats are decked out with a pre-revolutionary splendor. They are dressed “a la victime,” with thin ribbons around their necks, commemorating relatives and loved ones lost to the guillotine. 1st Gossip (Soprano):

1st Gossip Ghost

I

knew

that

wo

man.

Ma

de leine!

Rosina: (spoken)

Rosina:

Welcome, Madeleine, welcome. Almaviva: (spoken)

Almaviva 8

*

Your excellency, welcome.

1 solo = 84

Vn. I solo 8

(7 stands) al sord.

Vn. I gli altri (5 stands) al sord.

Vn. II * 1 sola = 84

Va. sola div. a3

Va. le altre * 1 solo, pizz. = 84

1 solo

Vc. gli altri

(1 stand)

al sord.

al sord.

Cb. (2 stands) * A Flute, Violin, Viola, and Violoncello create the “Ball Orchestra” which plays its music independently of the conductor. The Violinist should conduct the others as if they were in a chamber ensemble. The group continues to play their music until Almaviva cuts them off by clapping hands.


II – 124

Fl.

Solo Vn.

Sola Va. arco

(pizz.)

arco

pizz.

Solo Vc.

Fl.

Solo Vn.

Sola Va. pizz.

arco

Solo Vc.

Fl.

Solo Vn.

Sola Va.

pizz.

arco

Solo Vc.

rall. Fl. (Play only if low B is not available on Flute) Solo Vn.

Sola Va.

Solo Vc.

(Three ghosts—the gossips—haunt the ball. They are dressed in the same fashion as the guests, but their clothing is all white and their makeup has a waxy pallor. The First and Second Ghosts mingle with the guests; the Third Ghost sits on a chandelier. The Ghosts cannot be seen, heard, or touched. Rosina and Almaviva stand to one side, greeting people. Nearby, next to the pillar, Florestine paces nervously.)

Ghost Gossips

Mar gue ri

2nd Gossip (Soprano):

3

Florestine:

3

Her young

man

left

Florestine

Have

you seen Lé

on?

Marquis:

Marquis 8

stands 1, 2, 3, 4 con sord.

No,

I’m sor

ry.

stands 5, 6 con sord.

Vn. I gli altri stand 7 con sord.

Vn. II

al sord.

Va. le altre al sord.

Vc.

Cb.

2 players, div., con sord.

her.

te


II – 125 1st Gossip Ghost:

Ghost Gossips

Poor Bishop:

Bishop 8

We must ne

ver give

up hope.

2nd Young Man:

2nd Yng. Man

Not since Eas

Florestine: (to another young man)

ter.

(she cries in her friend’s arms)

Florestine

Have you seen Lé

on?

I

don’t know where he

is.

Ball Orch.

Vn. I gli altri

div. a3, con sord.

Vn. II 1, 2 unis., con sord.

Va. le altre tutti, div. (con sord.)

Vc. gli altri div., con sord.

Cb.

(Count Almaviva claps for silence. The players stop.)

vuota girl.

Ghost Gossips

2nd Gossip Ghost:

Poor

Flo

res

tine.

Florestine

Where did

he

go?

Almaviva: (clapping for silence.)

(Almaviva goes to where the musicians are seated.)

Almaviva 8

Ball Orch.

(div.)

vuota Vn. I gli altri via sord.

Vn. II gli altri via sord.

Va. le altre via sord.

Vc. gli altri via sord.

Cb.


II – 126

58

Almaviva 8

Friends,

wel

come.

For

one

last

time

we

have come

3

to

ge ther in the name of

love

and

am

i

ty.

I Vn. II *

div., senza sord. 6 players

Va. dolce 2 players *

div., senza sord. 3 players

Vc. dolce 5 players unis., senza sord.

Cb. dolce

Almaviva 8

But

e

ven

as

I speak,

all

of France

suf

fers,

and

our

queen

a

waits

her

ver

dict.

I Vn. II (div.)

Va. (div.)

Vc.

Cb.

Almaviva 8

When I think

of

her

I

re proach my self the

air

I

breathe,

and am torn

be tween pain

and rage,

I Vn. II unis. (8 players)

Va. sub. 4 players

Vc. sub. 4 players

Cb. sub.

Almaviva 8

3

But

to night,

3

let us for get our sor rows

and ce le brate this mo ment

I Vn. II div. 6 players

Va. 2 players div. 3 players

Vc. 5 players

Cb. *Soli Viola and Violoncello rejoin their sections until rehearsal number 59, when they join the Ball Orchestra again.

of free

dom.

Let the gold

en

days

re

turn!


II – 127

59 Tempo di minuetto *

C

Fl. gracefully

Solo Vn.

Sola Va. gracefully

Solo Vc.

A

Fl.

Solo Vn.

Sola Va.

Solo Vc.

Synth.

Piano

Harp

(Everyone dances—even the Ghosts—except the Almaviva household. For a moment all pains are forgotten as the salad days of the monarchy are revived. After a while Léon enters furtively. He stands partially hidden near Florestine.)

** Léon: (spoken, sotto voce)

Léon 8

Florestine! (spoken)

Almaviva 8

Musicians!

I Vn. II

Va.

Vc.

Cb. *Ball Orchestra is independent of singers and pit orchestra. Continue playing until cue to fade at rehearsal 60 . **After dance has been established.


II – 128

Fl.

Solo Vn.

Sola Va.

Solo Vc.

Fl.

Solo Vn.

Sola Va.

Solo Vc.

60 = 60–66 a2 Fl.

1 2 1. (solo)

Ob.

1

Cl. in B

1 2

Bn.

1 2

dolce

dolce

1.

1 2 Hn. in F

3.

3 4 Tpt. in C

1 2

Perc.

1 2 3 4

Synth.

Florestine: (Florestine embraces Léon.)

(Léon holds her. Almaviva sees them.)

Florestine

on!

I don’t care!

Thank God you’re safe! Rosina:

(Rosina restrains Almaviva.)

Rosina

Don’t! Léon 8

Your

fath

er!

(Pointing out Léon to Rosina)

Almaviva 8

Your

son!

* Ball Orchestra

= 60–66 I Vn. II tutte unis.

Va. espr., curved, lyrical div.

Vc.

Cb.

*:If the Ball Orchestra is on stage, it mimes playing after the fade to niente until rehearsal 65 .

(espr.)


II – 129 (a2)

Fl.

1 2

Cl. in B

1

(1.)

2.

(3.)

4.

1 2 Hn. in F 3 4

3

3

Florestine

I

thought you had left me.

I was so fright ened.

Rosina

Will you? Will you? Léon 8

Dar

ling.

Leave you?

(aside) (Almaviva tries to speak, but Rosina cuts him off.)

Almaviva 3

8

How dare he come here?

3

3

I’ll have him thrown out!

I know she’s right.

Va. (div.)

Vc.

rall.

English Horn

E.H.

Bn.

1 2.

1 2 Hn. in F

4.

3 4 (aside)

Rosina 3

What

can

I

do

to

make him

for

give

me? dolce

Léon 8

How

could

Almaviva 3

8

mit

Va.

Vc.

ted

3

the same

sin…

yet

I

can’t for

give

her.

I

leave

you?

We com


II – 130

61 Fl.

1 2 3

Ob.

1 2

Quartet = ca. 60

E.H. 2.

1 2 Cl. in B 3

1 2

Bn.

Cbn. (2.)

1.

3

3

1 2 Hn. in F

(4.)

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp. Crotales

1

Perc.

2

3 4

Piano

Harp

(The dancers continue dancing, even though the Ball Orchestra’s music has faded away.)

Florestine:

Florestine

You took me

Rosina

3

Léon 3

8

Re

mem ber

the chest

nut

trees

in

the

gar dens of

the Tuil

er

ies?

Ball Orchestra 8

= ca. 60

tutti unis. (con sord.)

I Vn. II div.

Va.

Vc. 3

Cb.

by the


II – 131

Fl.

1 2 3

Ob.

1 2

E.H.

1 2 Cl. in B 3

1 2

Bn.

Cbn. 1.

1 2 Hn. in F 3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Harp

Florestine

hand. Rosina: Rosina

I wish he’d

take my

hand.

Léon 8

Re

mem ber

the mist

Almaviva: Almaviva 8

I’d like to touch her hand. (From Rehearsal Letter A in the Minuet)

Ball Orchestra

I Vn.

div., senza sord.

II

1 1

Va. div. a4

5 1 (div.)

Vc.

Cb.

div.

div.

on the

Seine

And the

brid ges

in

the ea

sy


II – 132

62 Fl.

1 2 3

Ob.

1 2

1.

3

E.H. 1.

2.

1 2 Cl. in B 3

1 2

Bn.

Cbn. (1.)

1 2

Hn. in F

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp. Crot.

1

Perc.

2

3 4

Harp

3

Florestine

You held my face and

kissed

me.

Re

mem

ber

Rosina

LĂŠon 8

rain?

I

held

you.

I

kissed

you.

Almaviva 8

(con sord.)

I Vn.

(div.)

II

(div. a4)

div. a3

4

Va. 4 (div.)

Vc.

Cb.

div. a2

the

fal

len


II – 133

Fl.

1 2 3

Ob.

1 2

(1.)

3

E.H. (2.)

1.

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1 Vib., motor off

Perc.

2

Ped.

3 4

Harp

Florestine 3

birch

in

the

clois ter

of

the lit

tle

church?

Re

mem ber

Rosina

Léon 8

I

took you by the

hand.

Almaviva 8

I Vn.

div.

II 1 1 5

Va. div. a4

1 (div.)

4

Vc. 4 3

Cb.

us drift ing,

a


II – 134 1.

Fl.

1 2 3

Ob.

1 2

E.H. (1.)

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2 Hn. in F 3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1 Vib. (motor off)

Perc.

2 Ped.

3 4

Harp

Florestine

float,

In

the

si

lence of

the glid

ing

boat?

(t)

You

shiv

ered

Rosina

Léon 8

I

held your face and

kissed

you.

Almaviva 8

(sord.) via sord.

I Vn.

(div.)

II

(div.)

Va. div. a4

(div.)

(div.)

Vc. pizz.

Cb.

and


II – 135

63 Fl.

1 2 3

Ob.

1 2

(1.)

English Horn

3

E.H. 1.

1 2 Cl. in B 3 1.

a2

1 2

Bn.

Cbn.

2.

1 2 Hn. in F

4.

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Harp

Florestine

trem

bled. Rosina:

dolce

Rosina

Look

how he loves

her. dolce

LĂŠon 8

3

Almaviva:

You

quiv

ered

and

sighed.

Re

mem ber

the

fra grance of

dolce

Almaviva 8

Look

3

how she loves him. (From Rehearsal Letter B in the Minuet)

Ball Orchestra

senza sord.

3

I Vn.

dolce

last 4 players

II

4 (div.)

Va. unis.

4 div.

Vc. arco

Cb.

div.


II – 136 1 2 Fl. 3 3

2.

1 2

Ob.

3

to Oboe

E.H.

1 2 Cl. in B 3 (a2)

*

1 2

Bn.

Cbn.

*

1 2 Hn. in F

* *

3 4 1 2

Tpt. in C

3 4 *

1 2 Tbn.

*

3 Tba.

Timp. Glock. 3

1 Vib.

2 3

Perc.

Ped.

Sus. Cym.

3

Florestine

I (impassioned) Rosina 3

I

3

re mem ber a

3

shim mer ing light.

LĂŠon 8

mush rooms in

the air? (impassioned)

Almaviva 3

8

I

Vn. I div.

3 3 Vn. II div. a3

middle 3 players

4

Va.

Vc.

Cb.

*Ossia:

first 3 players

3

re mem ber a star filled

night.

re mem ber there were rain

drops

in

your

hair.


II – 137

64 1 2 Fl. 3

1 2 Ob. 3

1 2 Cl. in B

to Bass Clarinet

3

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 1 2 Tpt. in C 3 4 1 2 Tbn.

3.

3 Tba.

Timp. Glock.

Perc.

1

Piano

(actual pitch)

Harp

floating

Florestine

I

swore

to

love

you

al

ways.

I

gave

my

self

to

you

for

ev

er.

my

self

to

you

for

ev

er.

floating

LĂŠon 8

I

swore

to

love

you

al

ways.

I

gave

Almaviva 8

I tutti div.

al sord.

I Vn.

div. a2

unis.

tutti div.

unis.

unis., pizz.

arco

unis., pizz.

arco

II

Va.

Vc.

Cb.

unis., con sord.


II – 138 1 2 Fl. 3

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 1 2 Tpt. in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1

Perc.

2

3 4

Pno.

Harp

Florestine

Rosina:

Rosina

I

gave

my

self

to

him

for

ev

er.

Léon 8

Almaviva 8

swore

to

love

her

al

ways. via sord.

I Vn. II

Va.

Vc.

Cb.


II – 151

70 a2

*

a2

*

1 2 Hn. in F 3 4

(to Figaro) (to Wilhelm)

(spoken)

(to Almaviva)

(to Ball Orchestra)

Almaviva, I’ll see you at dawn.

Musicians, play. Amuse the aristocrats as they go

Bégearss 8

Your friend is mad.

Take them to prison.

(Again nothing happens.)

Beau. 3

I

com

mand you!

I am as weak as smoke.

(div. a4)

1 solo forms Ball Orchestra

I (non cresc.)

Vn.

(sul pont.)

*

II (sul pont.)

*

1 solo forms Ball Orchestra

*

1 solo forms Ball Orchestra

Va. (sul pont.)

Vc. 4 soli, div., non vib.

Cb.

Elegant

= 84

** (in Ball Orchestra)

Fl.

1 (The Ghosts dance. Susanna takes Figaro aside.) Susanna: (to Figaro)

Susanna

No, that way and be quick about it! Go! Wilhelm: (to the prisoners)

Wilhelm

This way and be quick about it! (exit Bégearss.)

Bégearss 8

off to their cell. Elegant = 84 ** 1 solo (in Ball Orchestra)

I Vn. II Elegant = 84 ** 1 sola (in Ball Orchestra)

Va. Elegant = 84 1 solo, pizz. ** (in Ball Orchestra)

Vc. (div. a4)

Cb. * Improvise a chromatic line, following the shape of the squiggly line. ** As before, Flute, Violin, Viola, and Violoncello create the “Ball Orchestra” and play independently. They play continuously, alternating endings 1. and 2. until their cue to fade at the orchestral 4/4, marked “Adagio = 48.”

arco


II – 152

Flute

Solo Vn.

Sola Va. pizz.

arco

pizz.

arco

Solo Vc.

Flute

Solo Vn.

Sola Va.

Solo Vc.

(Figaro returns to fetch Beaumarchais. Wilhelm notices.)

Wilhelm

What’s this? What’s this?

Flute (play only if Flute cannot play B )

Solo Vn.

Sola Va.

pizz.

arco

Solo Vc.

rall. 1

Flute

Solo Vn.

Sola Va.

Solo Vc.

(Susanna tries to distract Wilhelm as Figaro and Beaumarchais sneak away.)

(Wilhelm traps Susanna as she is about to join Figaro.)

Susanna

Go, Figaro, go!


II – 153 2

Flute

Solo Vn.

Sola Va.

pizz.

arco

Solo Vc.

Flute

Solo Vn.

Sola Va.

Solo Vc.

(Turmoil as the aristocrats are herded off, Susanna among them, and Figaro and Beaumarchais escape.) Wilhelm

Not you, woman.

Susanna

Fly, Figaro, fly! (Wilhelm holds Susanna.)

Wilhelm

Stop them! They’re escaping, you fools! Master will kill me!

Ball Orch.


II – 154

71 *

Fl.

2

Ob.

1 2

Cl. in B

1

1.

*

*

(Wilhelm, the Soldiers, Revolutionary Women, guests, and the Almaviva household all leave. The stage is empty, except for the musicians and the Ghosts. The stage is silent but for the music. The Ghosts start dancing a spectral version of the ball, gracefully exchanging heads and limbs.)

Susanna

Wilhelm

Ball Orch.

I Vn. II 1/2 section, div., senza vib.

Va. 1/2 section, div., senza vib.

Vc.

Cb.

2 Fl. 3 2.

Ob.

1 2

1

Cl. in B

2 *

3

Ball Orch.

Vn.

I

II (div.)

Va.

div., senza vib.

(div.)

Vc.

div., senza vib.

Cb. * Play (pp) at approximate positions within cue.


II – 155

rall.

fade away

Flute

Solo Vn.

Solo Va.

Solo Vc.

Adagio

= 48

2 Fl. 3

1 Ob. 2 2.

1.

1 2 Cl. in B

to Bass Clarinet

3

(Curtin slowly comes down) (Marie Antoinette enters) Marie Antoinette: (to herself)

(Curtain is down)

(Marie continues senza fermata, independent of orchestra.)

free

M.A.

He sac ri ficed his pow ers,

Adagio

and he risked his soul.

= 48

unis., arco

Vn. I gli altri legatissimo

Vn. II legatissimo div.

Va. gli altri

(div.)

(div.)

Vc. gli altri

Cb.

(div.)

unis.

Be cause he

loves me.

He loves me.


II-229

= ca. 60–72

110 1 2 Fl.

Flute

3/Picc. 1. 1 2

English Horn

Ob. 3/E.H.

stagger breathing 1 slow legato gliss. stagger breathing

Cl. in B 2

slow legato gliss.

Bass Clarinet

stagger breathing

3/Bs. Cl. slow legato gliss. Bn. 1 2

Contrabassoon 3/Cbn.

a2 stagger breathing 1 2 slow legato gliss.

Hn. in F

a2 stagger breathing 3 4 slow legato gliss.

1 Tpt. 2 in C 3 4 1 2 Tbn. 3 Tba.

Timp.

1 Perc.

Bass Drum

2

Piano

Harp

Marie Antoinette (Spoken)

3

M.A.

No, Beaumarchais, it is as it should have been.

She

must

stay

and

ride

= ca. 60–72 I Vn. II free bows Va. *(div. a4) 1-4 Vc.

*(div. a4)

5-8

*(div. a3) 1-3 Cb.

*(div. a3)

4-6

*:Divide by half step between pitches in boxes.

slow legato gliss.

the


II-230

a2 fltg. 1 2 Fl.

fltg. 3

(1.)

Ob.

1.

1 2

3

1

Cl. in B 2

3

Bn. 1 2 Cbn.

1 2 Hn. in F 3 4

1 Tpt. 2 in C 3 4 1 2 Tbn. 3 Tba.

Timp. Anvil 1 Perc. 2

Piano

Harp

M.A.

cart I Vn. II

Va.

1-4 Vc. 5-8

1-3

Cb. 4-6

And

see

the

crowds

And

hear

the

drums

And

count

the


111

II-231

1 2 Fl. 3

1.

1.

1 2

2.

Ob.

to Oboe 3

E.H.

1 Cl. in B 2

to Clarinet in B

Clarinet in B

Bs. Cl.

Bn. 1 2

Cbn. (a2) 1 2 Hn. in F

(a2) 3 4 harmon mute

Tpt. in C

1 2 3., harmon mute 3 4

1 2 Tbn.. 3 Tba.

Timp. Glock. (Anvil) 1 Perc.

(B.D.)

2 8va

Piano

8va

Harp

3

3

M.A.

stairs And feel the

blade.

She must stay, Beau mar chais,

And she must die

I Vn. II non div. Va.

non div. 1-4 Vc.

non div.

5-8

pizz. 1-3 Cb. 4-6

pizz.

Once there was a


II-232

1 2 Fl. 3

1 2 Ob. 3

1 Cl. in B 2

to Bass Clarinet 3

Bn. 1 2

Cbn.

1 2 Hn. in F 3 4

Tpt. in C

1 2

3 4

1 2 Tbn.. 3 Tba.

Timp.

1 Perc. 2

Piano

Harp

3

M.A.

gold en bird,

A

bird

who lived in

a

sil ver cage

I Vn. II

Va. unis. Vc.

Cb.

I

nev

er saw the world out

side.

I

nev er knew the


II-233 112 1 2 Fl. 3

a2

a2

1 2 espr.

Ob.

to E.H. 3 espr. 1

Cl. in B

to A Cl. 2

Bs. Cl. a2 Bn. 1 2

Cbn. 2. 1 2 Hn. in F 3 4 open 1 2 Tpt. in C

3. con sord.

open

3 4

4.

espr. 3. 1 2 Tbn.. 3 Tba.

Timp. T.D. 1 Perc. B.D. 2

Piano

Harp

3

M.A. 3

world of pain.

I

did not know,

did not know!

I have to

stay,

Beau mar chais,

Vn. I gliss.

gliss. Vn. II gliss.

1

2

gliss.

3

gliss.

4

gliss.

Va.

1-4 Vc. 5-8

arco 1-3 Cb. 4-6

arco


II-234 113 1 2 Fl. 3

(a2) 1 2 Ob. E.H.

Cl. 1 in B lontano Cl. 2 in A

Bs. Cl.

Bn. 1 2

to Bn. 3 Cbn.

1 2

subito subito

Hn. in F 3 4

1 2 Tpt. in C 3 4 al sord. 1 2 Tbn..

al sord.

3 Tba.

Timp. (T.D.) 1 Perc.

(B.D.)

2

Piano

Harp

(slower, free)

(a tempo)

M.A.

And I

have to

die.

For there was

unis., con sord. I desolate

Vn.

unis., con sord.

II desolate Va.

Vc.

Cb.

no

peace,


II-235

1 2 Fl. 3

1 2 Ob. E.H.

Cl. 1 in B

Cl. 2 in A

Bs. Cl.

1 2 Bn. 3

1 2 Hn. in F 3 4

1 2 Tpt. in C 3 4

1 2 Tbn.. 3 Tba.

Timp.

1 Perc. 2

Piano

Harp

M.A.

I

wan

dered,

cold, 8va

I Vn. II

Va.

Vc.

Cb.

bit ter,

emp ty,


II-236

1 2 Fl. 3

1 2 Ob. E.H. solo

(quasi

)

(quasi

)

3

(quasi

)

3

3

3

3

3

3

3

3

3

3

3

Cl. 1 in B sost. Cl. 2 in A

sost.

to B Cl.

Bs. Cl. sost. 1 2 Bn. 3 2. 1 2 Hn. in F 3 4

1 2 Tpt. in C 3 4

1 2 Tbn..

con sord.

3 Tba.

Timp.

1 Perc. 2

Piano

non arpeggio

Harp

M.A.

Un

til

with

your

art

and

love

you

called

I Vn. II

(quasi

)

div.

3

3

3

3

3

3

Va.

3

(quasi

)

div.

Vc. 3

div. Cb.

me.


II-237 114

3

1.

1 2 Fl. 3 1. 1 2 Ob.

solo

to Oboe 3

3

E.H.

Cl. 1 in B 3 3

Cl. 2 in A

Cl. 3 in B (quasi

)

1 2 3

Bn.

(quasi

3.

)

sost.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 sost.

1 2 Hn. in F

3. 3 4

1 2 Tpt. in C 3 4 con sord.

(quasi

)

(quasi

3. (con ) sord.)

1 2 3

Tbn..

sost.

3

3 Tba. sost.

Timp.

1 Perc. 2

Piano

richly

Harp

3

M.A.

You

taught

me

that ac

cep

tance is

the

on

ly road

to

free

dom

And for 8va

I Vn. II div.

unis. Va. 3

unis.

pizz.

3

Vc.

pizz. Cb.

3

arco, unis.

pizz.

arco, div.


II-238

stringendo 115

(1.)

Faster = ca. 96

1. solo

1 2 Fl. 3 (1.) 1 2 Ob. 3

Cl. in B 1 Cl. in A 2 Cl. in B 3 3

1 2 Bn. 3

3

(quasi

)

1. solo

1 2 3

Hn. in F

(quasi

)

richly

3

3

3

3

3

3

3

3. solo

3 4 richly

1., solo, senza sord.

con sord. 1 2 Tpt. in C

4. con sord. 3 4 3. senza sord. 1 2

Tbn..

senza sord.

3 Tba.

Timp.

1 Perc. B.D.

3

2

Piano

non arp.

Harp

joyous

3

3

M.A.

give

ness

sets our spir its

free to

fly.

Float

ing,

ris ing,

soar

ing,

Faster = ca. 96

stringendo 8

div., senza sord. I Vn.

senza sord.

div.

II (quasi (div.)

) 3

3

3

3

3

3

3

3

Va.

richly (quasi (div.)

)

div. a2, pizz.

Vc. richly arco, div. a3

div. a2, pizz.

Cb. 3

unis.


= ca. 84

tratt.

1.

rall. * a2

1 2 Fl.

* 3

1. solo 1 2 Ob. 3

*

Cl. in B 1

*

Cl. in A 2

*

Cl. in B 3

1 2 Bn. 3

a2 1 2 Hn. in F

a2 3 4 (1.)

senza sord.

1 2 rich

Tpt. in C

3., senza sord. 3 4 rich 1 2 rich

Tbn.. 3 Tba.

Timp. Sus. Cym. 1 Perc.

B.D.

2

Piano

* Harp

M.A.

De light,

rap

ture.

par

a

dise!

Thank

= ca. 84

tratt.

rall.

unis.

(div.) I

espr.

Vn.

(div.) II espr.

(div.)

div. a4

unis.

Va.

espr. unis., arco

div. a3

Vc.

arco Cb.

* Flutes, Clarinets and Harp play free wave of arpeggios on the given note chords. All should be legatissimo, blurred and non-synchronized with other players. They can be played at any speed, but must always sound etherial.

div.

II-239


II-240

= 72

Slower

rall.

= 60

1 2

Fl.

solo

to Picc.

Picc.

Picc. 1. 1 2 Ob. 3

Cl. in B 1

Cl. in A 2

Cl. in B 3

1 2 Bn. 3

1 2 Hn. in F 3 4

1 2 Tpt. in C 3 4

1 2 Tbn.. 3 Tba.

Timp.

1 Perc. 2

Piano

Harp

M.A.

you

for this

mo ment

of

peace.

I

= 72

suf fered here in

Slower

rall. unis. div., con sord.

I Vn.

div., con sord.

unis.

II

unis., con sord. Va.

unis., con sord. Vc.

unis., con sord. Cb.

= 60

end less


II–241

rall.

116 1 2

Fl.

Picc. (1.) 1 2 Ob. 3

Cl. in B 1

Cl. in A 2

Cl. in B 3

1 2 Bn. 3

1. 1 2

Hn. in F

3. 3 4

1 2 Tpt. in B 3 4

1 2 Tbn..

con sord.

3 Tba.

Timp.

1

2 Perc. 3

4

Piano

Harp

(She kneels before him.) M.A.

night.

And div.

then you

cameandbroughtme

light.

rall.

I

love

I Vn.

div.

half section

div.

unis.

II

Va. div. Vc. div. (arco) Cb.

pizz.

you.


II-242


II-243


II-244


II-245


II-246


II-247


II-248


II-249


II-250

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Corigliano GHOSTS OF VERSAILLES, ACT 2 (full score)  

Opera and Music Theatre; full score; G. Schirmer; musicsalesclassical.com; 26985

Corigliano GHOSTS OF VERSAILLES, ACT 2 (full score)  

Opera and Music Theatre; full score; G. Schirmer; musicsalesclassical.com; 26985