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 Reduced Orchestration by John David Earnest FULL SCORE ACT I

From the G. Schirmer Rental Library Date of Printing ______________

G. Schirmer, Inc. New York, NY


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 Reduced Orchestration by John David Earnest

th

originally commissioned by the Metropolitan Opera Company for its 100 anniversary this reduced orchestration was commissioned by Opera Theatre of Saint Louis for its Thirty-fourth Festival Season and 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.

G. Schirmer, Inc. New York, NY


CONTENTS

ACT I Prologue...........................................................................1 Scene 1.........................................................................142 Scene 2.........................................................................213 Scene 3.........................................................................220 Scene 4.........................................................................253 Scene 5.........................................................................269

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.....................................................................S.A.T.B PIERRE-AUGUSTIN CARON de BEAUMARCHAIS, author of The Barber of Seville and The Marriage of Figaro, passionate, quick, middle-aged........Bass-baritone MARIE ANTOINETTE, soulfully beautiful, vulnerable, warm, yet willful, in her thirties.........................................................................Soprano Players in the Opera: FIGARO, Count Almaviva’s wily servant, middle-aged.....................................................Baritone SUSANNA, Figaro’s loyal but independent wife, middle-aged..........................................Soprano COUNT ALMAVIVA, a proud, stubborn Spanish aristocrat, middle-aged.........................Tenor ROSINA, his still-beautiful, grieving wife, in her forties....................................................Soprano LEON, Rosina’s son by Cherubino, about twenty..................................................................Tenor FLORESTINE, Almaviva’s daughter, about twenty..........................................Coloratura soprano PATRICK HONORE BEGEARSS, Almaviva’s treacherous friend, middle-aged................Tenor WILHELM, doltish young servant of Bégearss...........................................................Speaking part CHERUBINO, a former page of Almaviva, handsome, in his late teens.................Mezzo-soprano SULEYMAN PASHA, Turkish ambassador, heavy, bald, middle-aged or older......................Bass ENGLISH AMBASSADOR, distinguished older gentlemen............................................Baritone SAMIRA, sultry Egyptian singer...............................................................................Mezzo-soprano DUTCHESS, (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 (sung by ghost of MARIE ANTOINETTE) CHORUS...................................................................................................Eighteen or more singers

Others: pursuers of Figaro, Turkish duelists, page, dancing and harem girls, “rhieta” players, acrobats, revolutionary guards, revolutionary women, courtiers, dancers, prison guards, prisoners, soldiers.


to Anthony Holland, friend and collaborator

May memory restore again and again The smallest color of the smallest day: Time is the school in which we learn, Time is the fire in which we burn. –Delmore Schwartz

ACKNOWLEDGMENTS Special thanks to Osama A. Abusitta, John Atkins, Bob Campell, Colin Graham, Joel Honig, Sandy Kadet, El-azza M’Hammed, Ross MacLean, Michael Mace, James McCourt, Steven Mercurio, Darragh Park, Philip Ramey, Sheldon Shkolnik, Mark Thalenberg, Deniz Ulben Hughes, Kalman Ullmann, Jean-Claude van Itallie, Serapio Walton, and MaryAnn Wrobleski for their help and patience. I am grateful to the National Endowment for the Arts for a librettist grant and to the Circle Repertory Company for their support. Credit is due for the lines from “Calmly We Walk Through This April’s Day,” by Delmore Schwartz (from Selected Poems: Summer Knowledge. Copyright © 1959 by Delmore Schwartz. Reprinted by permission of New Directions Publishing Company).

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-within-the-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 the 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.


Instrumentation 2 Flutes (both doubling Piccolo) 2 Oboes (2nd doubling English Horn) 2 Clarinets in B= (1st doubling Clarinet in A, 2nd doubling Clarinets in 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, Ratchet) Percussion (3 players) 1. Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone (bow needed), Triangle, Xylophone, W ind Machine 2. Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, Triangle, Xylophone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, W ood Blocks, Anvil, Chimes, Lion’s Roar, Slapstick, Thunder Sheet 3. Bass Drum, Crotales (bow needed), Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, W ood Blocks, 2 Dumbec drums, Crash Cymbals, Large Bass Drum, Low Drum, Low Gong, Small Tamtam

Synthesizer Piano/Celesta Harp Strings (6.6.4.4.3 players)

This reduced orchestra version of The Ghosts of Versailles was prepared by John David Earnest, with the composer’s and publisher’s approval, on commission from the Opera Theatre of St. Louis in 2008. The world premiere of the reduced orchestra version was given on 17 June 2009, Michael Christie, conductor

Marie Antoinette..............................Maria Kanyova Louis XVI.............................................Kevin Glavin Beaumarchais...................................James Westman Figaro.........................................Christopher Feigum Rosina................................................Hanan Alattar Bégearss......................................Matthew DiBattista Samira.............................................Elizabeth Batton

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

ACT I TIME: The present and the autumn of 1793 PLACE: Marie Antoinette’s theater in the Petit Trianon, Versailles The curtain rises, revealing a vast expanse of almost empty stage dimly lit and painted a friendly, glowing off-white. We see randomly placed pieces of Marie Antoinette’s intimate private theater at the Petit Trianon in Versailles: a pillar or two, a chair, a box, the front curtain. After a few measures of music, the theater will slowly assemble itself before our eyes. The beginning of the Prologue is also marked by the slow descent (from above the proscenium arch to the floor of the stage) of an elegant woman seated in a comfortable fauteuil. She is wearing an extremely large dress and vast hat depicting peace and plenty in land of France. She sings words (by Beaumarchais) to the tune of Marlborough s’en va-t-en guerre, (For He’s a Jolly Good Fellow). The following five sections of the Prologue—the descent of the Woman with hat, the card game between Louis XVI and the Marquis, and the quartet of bored ghosts in the opera box—form a collage of events that start, stop, overlap, and intertwine.


to Francis Goelet

THE GHOSTS OF VERSAILLES A Grand Opera Buffa in Two Acts (Reduced Orchestration)

William M. Hoffman *

John Corigliano

ACT I

Slowly

Prologue

ca. 5 seconds

1 Flute (Piccolo)

2

1 Oboe (English Horn)

to English Horn

2

1 Clarinet in B

to Bass Clarinet

(Bass Clarinet) (Clarinet in E ) 2

1 Bassoon (Contrabassoon) 2

1 Horn in F 2 take harmon mute

with harmon mute

take harmon mute

with harmon mute

1 Trumpet in C 2

1 Trombone 2 Timpani bend

Vibraphone, bowed

****alternate notes

1 Pedal

Percussion

2 Crotales, bowed

****alternate notes

3 (echo)

(white sound)

Synthesizer

Piano (Celesta)

Harp

*

Slowly

1 solo gliss.

div., con sord.

div. a3

*** sul pont.

**

ca. 5 seconds

I Violin

div., con sord.

gliss.

div. a3 **

*** sul pont.

II

Viola

Violoncello

Contrabass * Triangles with numbers within mean free cue beats. The number denotes the number of beats (cues) in the measure. Dotted barlines indicate secondary cues. ** Divide evenly between 1st and 2nd Violins (ie: 6 pitches, 12 players = 2 players per pitch.) *** Free, chromatic, squiggly runs following shape of lines. **** Percussionists prepare note in parenthesis but do not play on downbeat.

Score in C Corrected 8/2009

Copyright Š 1991 by G. Schirmer, Inc. (ASCAP), New York, NY This version copyright Š 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal Law and subject to criminal prosecution.

Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY


2

1 = ca. 40–48

**

*

Picc. *

Fl.

**

1

1 Ob. 2 *

Cl. in B

**

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

l.v.

**

1 Glockenspiel, with soft sticks *

Perc.

**

2 (Crot.)

l.v.

3 (WHITE SOUND) **

Synth.

sempre

Celesta *

**

Cel.

Harp

Woman with Hat: slow, dream-like (asynchronous with orchestra)

W. w/ H.

Mon

= ca. 40–48

cour

sier

solo, senza sord. *

**

Vn. I solo

Vn.

Vn.

div. a2 (con sord.)

slow gliss.

metà

slow gliss.

I

II sola 8va *

**

Va.

Vc.

Cb. *Following conductor, finger line of eighth notes, but do not play. Occasionally produce sound beginning niente, make slight crescendi and diminuendi, back to niente, through the passage, sempre legatissimo. **Continue in tempo (4/4) without conductor. Keep tempo steady. Slight misalignments may occur, but this phasing is not objectionable.


3 **

Picc.

Fl.

1

Ob.

1

**

*

E.H.

Cl. in B

1 *

Bs. Cl. **

Bn.

1 *

Cbn. *

**

1 Hn. in F

*

2 *

**

1 Tpt. in C

*

2 fltg.

**

1 Tbn.

*

2

Timp. (Vib.)

1 Glock.

Perc.

**

2 Crot. **

3

Synth.

Cel.

**

Harp

W. w/ H. hors

d’ha

lei

ne,

(Que

m o n coeur,

mon

coeur

a

d e pei

ne!)

(solo)

Vn. I solo div. a3

Vn. I gli altri tutti, div. a3

Vn. II (solo) 8

Va. sola div., con sord.

Va. le altre ** solo, con sord., sul pont.

Vc. solo div. a3, con sord. 1 2

Vc. gli altri

3

Cb. solo div. a2

Cb. gli altri *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente. **Play figure at approximate position in cue.

1, solo, con sord., col legno ** 0


4 5 seconds Picc.

Fl.

1 filagreed, free

Ob.

1 filagreed, free

E.H.

Cl. in B

1 filagreed, free

Bs. Cl.

Bn.

1 filagreed, free

Cbn.

1 Hn. in F 2 take whispa mute

1

Tpt. in C

2

1 Tbn. 2

Timp.

1 (Glock.)

Perc.

2 (Crot.)

3

Synth.

to Piano

Cel.

Harp

W. w/ H. Jer rais

d e plain

e

e n plain

e,

Au

grĂŠ

du

de

stri

er.

A u grĂŠ d u sul pont.

5 seconds

(trem.)

Vn. I solo

sul pont. (trem)

div.

Vn. I gli altri sul pont. (trem.)

div.

Vn. II

Va. sola Va. gli altre Vc. solo (div.)

Vc. gli altri

Cb. solo (div.)

Cb. gli altri

unis.


5

2 = ca. 40–48

*

Picc. **

Fl.

1

Ob.

1

E.H.

Cl. in B

**

*

1

Bs. Cl. *

Bn.

1

Cbn.

1 Hn. in F 2 ** with whispa mute

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib. **

1 Pedal

Perc.

2

3 (WHITE SOUND)

sempre

Synth.

**

Piano

**

Harp

W. w/ H. de

stri

er,

Sans var

let, n’é

cu

yer.

près

= ca. 40–48

ord. (div.)

d’une

fon

taine,

(Que

mon

coeur,

mon

coeur

solo **

I Vn.

ord. (div.)

II

div. a3

Va. div. a3

Vc. metà (sounds 8ba)

Cb. *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente. **Finger line of eighth notes, but do not play. Occasionally each player enters independently ad lib., slow, legatissimo crescendo and diminuendo. Continue as before.

a

de

pein


6 = 60 Picc.

Fl.

1

Ob.

1

E.H.

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

Harp

W. w/ H. e!)

Son

geant

Ă

ma

Marr

aine.

Sen

tais m e s pleurs cou ler.

= 60 Vn. I solo div.

Vn. I 2-3

div. a3

Vn. I 4-6 div.

Vn. II 1-2 div. a3

Vn. II 3-6

3

4 5-6

(1 stand)

Va.

(Chomatic cluster) tutte, div., div. a4 div. a3 non vib. 1 2 3-4 liquid.

Vc.

Cb.


7

3 Picc.

Fl.

1

Ob.

1

E.H.

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F

(open)

2

1 Tpt. in C 2 (open)

1 Tbn.

(open)

2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

W. w/ H.

Marquis:

slow, free

Marquis 8

(Playing cards with Marquis) slow, free

The Queen

Louis XVI: Louis

My glass.Thank you,

(4., 3.)

my

friend.

I Vn.

(1., solo)

II (gliss.)

Va. via sord.

Vc.

Cb.

div. a3, senza sord.

lan guish es in

des pair, your Ma jes ty.


8

Picc. *

Fl.

1

Ob.

1

*

E.H.

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn. with straight mute

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1 Glock.

Pedal

Perc.

2 Crotales

3

Synth.

8va

8va

Piano

Harp

W. w/ H. 3

() ()

Marquis 8

Hope less, a fraid, (1. solo)

Vn. I

1 2

Vn. I

3

she clings to the past. div.

Vn. I 4-6 div. a3

Vn. II 1-3 div. a3

Vn. II 4-6 1 stand

Va. 1 solo, sul pont.

Vc. 1 solo, col legno (con sord.)

0

Cb. *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente.


9

Picc.

= ca. 40 Fl.

1 cold

Ob.

1 to Oboe

E.H. Cl. in B

1 to Clarinet in E

Bs. Cl.

Bn.

1 to Bassoon

Cbn. with straight mute

1 with straight mute

Hn. in F 2

take harmon mute

1 Tpt. in C

take harmon mute

2 with straight mute

1 with straight mute

Tbn. 2

Timp.

1

Perc.

2

3

Harp

W. w/ H.

Marquis 8

But will he

3

Louis

A com mon er

()

slow gliss.

slow gliss.

4-6

()

1-3

()

4-6

()

1-3

Vn. I

Vn. II

slow gliss.

is court ing

her.

2 soli

slow gliss.

2 soli 2 sole

slow gliss. 1-2

Va.

2 sole 3-4

2 soli, con sord. 1-2

Vc.

2 soli, con sord. 3-4 2 soli 1-2

Cb.

1 solo 3

have

her?


10

4 Subito

= 144

Picc. (continue in same tempo)

Fl.

1

1 Ob. 2

Cl. in B

1

Cl. in E *

1 *

Bn.

legato

2 legato

*

1 Hn. in F

legato *

2 legato

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 *

Synth.

(bns., hns.)

Harp

W. w/ H.

Trio of Gossips

S1

S2

He’s

in

love,

he’s in

love, he’s in

love!

A (furiously throwing down cards)

Beau mar chais’s

Louis

I don’t care! Let him

have

her!

Let him

have

her!

Subito

I don’t care!

= 144

2 soli (div.)**

I Vn. (solo)

II (sola)

Va. (solo)

Vc. (solo)

Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales. **Play as fast as possible. Do not synchronize.


11

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

Cl. in E

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

(Three elegantly dressed women skitter in from the back like insects. The first carries a parasol. The others wear under flouncy dresses. They are mindlessly gossiping and find each other hilarious.)

Harp

secco

Trio of Gossips

S1

He’s

in

love with

Ma

rie

An

toi

nette.

S2

A

in

love.

(2 soli)

Vn. I 2 soli senza sord., sul pont. *

Vn. I gli altri as fast as possible, asynchronous (1 solo)

* tutti, senza sord., sul pont.

Vn. II tutti, senza sord., sul pont. *

(1 sola)

Va.

(1 solo)

tutti, senza sord., sul pont.

as fast as possible, asynchronous

*

Vc. (1 solo)

as fast as possible, asynchronous * tutti, senza sord., sul pont.

Cb. *Play as fast as possible. Do not synchronize.

as fast as possible, asynchronous

as fast as possible, asynchronous


12

Picc.

Fl.

1 *

1

Ob.

*

2

*

Cl. in B

1

*

Cl. in E a2

Bn.

1 2

1 Hn. in F 2

with harmon mute

1 Tpt. in C

with harmon mute

2

Tbn.

1 2

Xyl.

*

1

Perc.

Bell Tree

3

Synth.

(bns.)

*

Piano

*

*

Harp

laughter

(sarcastically)

Trio of Gossips

S1

The Queen laughter

is

sad.

is

sad.

She longs

for

death.

She longs

for

death.

(sarcastically)

S2

The Queen

(sarcastically)

laughter

A

Sad. ord.

gli altri 2 soli

tutti

**

I Vn.

ord. **

II ord.

div.

Va. ord.

Vc. ord.

Cb. *Play as fast as possible. Do not synchronize. **Cut off at full sound.

metĂ


13 *

Picc.

*

Fl.

1 a2

Ob.

1 2

Cl. in B

1

Cl. in E (a2)

Bn.

1 2 **

1 Hn. in F **

2 **

1 (with harmon mute)

Tpt. in C 2 (with straight mute)

1 Tbn.

(with straight mute)

2

Timp. Xyl.

Suspended Cymbal

1 Temple Blocks

Slap Stick

Perc.

**

2 Tambourine

3

Synth.

8va

Piano

Trio of Gossips

S1

She’s been dead for two hun dred

years!

She’s been dead for two hun dred

years!

She’s been dead for two hun dred

years!

(laughter)

S2 (laughter)

A

Death. 8va

I Vn. II (div.)

Va.

Vc.

Cb. *Overblow to articulate harmonics. Shape of passage should resemble line above. **Play as fast as possible. Do not synchronize.

(laughter)


14

5 Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

Cl. in E

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

(woodwinds)

Harp

Trio of Gossips

S1

She seeks

so

lace.

She longs

for

She longs

for

S2

She

will

not

rest.

A Marquis: (slow, as before)

She re grets

her

past.

Marquis 8

sul * pont.

The

Queen

I sul pont.*

Vn. II

unis., sul pont. *

Va.

Vc.

Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.

She

can’t

find

peace.


15

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

Cl. in E *

1 Bn.

*

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 Tamb.

Perc.

2 Snare Drum

r.s.

Small Tamtam

3

Synth.

Harp

Trio of Gossips

S1

death.

She’s been dead

for two hun dred

years!

death.

She’s been dead

for two hun dred

years!

She’s been dead

for two hun dred

years!

S2

A

Death. Marquis 8

lan

quish

es

in

I Vn. II sul pont.

Va. tutti, sul pont.

Vc.

sul pont.

Cb. *Play as fast as possible. Do not synchronize.


16 **

Fl.

1

Ob.

1 2

Cl. in B

1

a2

Cl. in E a2

Bn.

1 2 1

Hn. in F 2

1 Tpt. in C

*

2

1 Tbn. 2 Xyl.

1

(Sus. Cym.)

Perc.

Bell Tree

2 (Tam.)

l.v.

Sus. Cym.

3

Synth.

(flutes)

to Celesta

Piano

(chromatic)

Harp

Marquis 8

des

pair,

Trio of Gossips

S1 (laughter)

S2 (laughter)

He’s

A (laughter)

sul pont.

I Vn.

sul pont.

II 2 soli, div., ord. (2nd stand)

Va. 2 soli, div., ord.

Vc.

Cb. *Play as fast as possible. Do not synchronize. **Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.

in


17

6 Picc.

Fl.

1

1 Ob. 2

Cl. in B

1 to Bass Clarinet

Cl. in E

1 Bn.

to Contrabassoon

2

1 Hn. in F 2 take whispa mute

1 Tpt. in C

take straight mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Trio of Gossips

S1

He’s in

love with Ma

rie

An toin

ette.

S2

love,

he’s

in

love, he’s

in

love!

He’s in

A

Beau mar

chais’s

in

love

Marquis 8

your 2 soli, div., ord. (2nd stand)*

Ma

jes

continue ad lib.

I continue ad lib.

Vn.

2 soli, div., ord.*

continue ad lib.

II continue ad lib. (2 sole)

Va. sempre (2 soli)

Vc. sempre

Cb. *Ad lib. crescendo and diminuendo, asynchronous with other solo violins.


18

7 = ca. 40–48 *

Picc. *

Fl.

1

1 Ob. 2 *

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2 with whispa mute

*

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 *

Perc.

Glock, with soft sticks, l.v. sempre

2

3 (WHITE SOUND)

Synth.

sempre

Celesta

*

Celesta

exit and slow fade

dim.

exit and slow fade

dim.

exit and slow fade

dim.

Trio of Gossips

S1

S2

A

Marquis 8

ty.

Louis:

Louis

I

don’t care.

I

don’t care.

= ca. 40–48

don’t

care.

1 solo *

I gli altri

Vn. II 1 sola *

Va. gle altre

Vc.

Cb. *Following conductor, finger line of eighth notes, but do not play. Occasionally produce sound beginning niente, make slight crescendi and diminuendi, back to niente, through the passage.


19

Picc.

Fl.

1

Ob.

1 2

Cl. in B

1

Bs. Cl.

Bn.

1

Hn. in F

1 2

1 Tpt. in C 2

Tbn.

1 2 Vib.

1 (Glock.)

Perc.

2

3

Synth.

Celesta

Harp

Woman with Hat

as before

W. w/ H.

Mon

cour

sier

S Opera Quartet

3

An oth er eve ning A

T 8

B

Louis

don’t

Vn. solo

Vn. I gli altri

Vn. II

1 2

Vn. II

3 4 5 6

div.

Va. sola div.

Va. gle altre

Vc.

Cb. *Continue as before—ad lib. entrances, crescendo via niente and diminuendo al niente.

at the o

pe

ra.


20 *

= ca. 40–48

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2 (Vib.)

1 (Glock.)

Perc.

2

3

Synth.

Celesta

W. w/ H.

S

Opera Quartet

**

3:4

A

I’m

so

bored. 3:4

**

T 3:4

8

I’m

so

bored.

Bored

B 3

* (1 solo)

Per haps Beau mar chais can a muse us.

= ca. 40–48

I (3-6, div. a2

Vn.

(1-2)

II (1-2)

Va. solo

Va. gle altre div. a3

Vc. div.

Cb. *Conductor beats the following measures in the tempo of the Synthesizer. **Notes within can be rhythmically flexible.

3

as a


21

Picc.

Fl.

1 * a2

Ob.

1 2

Cl. in B

1 Bass Clarinet

Bs. Cl.

Bn.

1 Contrabassoon

Cbn.

1 Hn. in F 2

1 Tpt. in C

with straight mute

2 (with straight mute)

1 (with straight mute)

Tbn. 2 (Vib.)

1 Perc.

(Glock.)

2

Synth.

Celesta

Three Chattering Women: (racing blurs on high back level)

Allegro

Trio of Gossips

S1

S2

He’s in S3 sweetly

secco

S

Opera Quartet

Well,

3

I know you can’t.

I loathe

3:4

you.

A 3

Bored

as

an

egg.

T 8

3:4

rug.

Bored

as

B 3

(1 solo)

Oh, Lu cienne

3

how you bore

me.

Vn. I solo 4 soli, div.

Vn. I gli altri (1-2)

Vn. II (1 sola)

Va.

Vc.

Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.

a

po


22

8 Picc.

Fl.

1

Ob.

1 2

Cl. in B

1

2. to English Horn

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C

remove mute

open

2 remove mute

open

remove mute

open

1 Tbn. 2 (Vib.)

1 2

Perc.

(Glock.)

3

Synth.

Celesta

Trio of Gossips

S1

He’s in love with Ma rie An toi nette S2

love.

He’s in love. He’s in love.

A

Beau mar chais’s in

love.

S 3:4

Opera Quartet

I’m

so

bored.

A

rug

Oh,

T 8

3:4

ta to.

Egg.

I’m

so

bored.

B 3:4

I’m

so

Vn. I solo (4 soli)

Vn. I gli altri tutti, div., con sord.

Vn. II (sola)

Va. le altre, div., con sord. div., con sord.

Vc.

Cb.

bored.

3:2

I’m

so

bored.


23

9 (continue in tempo, following Synthesizer)

Picc. (continue in tempo, following Synthesizer)

Fl.

1

Ob.

1 2 (continue in tempo, following Synthesizer)

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

Hn. in F

1 2 (continue in tempo, following Synthesizer)

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

(continue in tempo, following Synthesizer)

(Glock.)

(continue in tempo, following Synthesizer)

1

Perc.

2

3 (continue in tempo)

Synth.

(continue in tempo, following Synthesizer)

Celesta

(Tempo as before)

Marquis 8

The Queen *

Bored.

Bored.

Opera Quartet

*

A

So

bored.

Bored. *

T 8

Bored.

Bored.

Bored.

Bored.

*

B

Bored. (solo)

Bored. (continue in tempo, following Synthesizer)

I Vn.

unis.

II (sola)

in

des pair,

Your Ma jes ty.

Alternate octaves, dynamics, and add yawns ad lib. on “Bored” producing a kind of tremolo.

S

Bored.

lan guish es

(continue in tempo, following Synthesizer)

Va. le altre, div., senza sord. div., senza sord.

Vc. senza sord.

Cb. *Continue in same tempo. Occasionally alter octave ranges of passage, ad lib. After several repeats, ad lib “yawns” with hand over mouth.


24

Picc.

Fl.

1

Ob.

1 English Horn

E.H.

Cl. in B

1

Bs. Cl.

Bn.

1

Cbn.

1 Hn. in F 2

1

Tpt. in C

2

1 Tbn. 2 (Vib.)

1 (Glock.)

Perc.

2 (Crot.)

3

Synth.

Celesta

Harp

(original tempo)

(repeat as before, ad lib.)

W. w/ H.

Au

gré

Marquis 8

Hope less, a

fraid,

3

she clings to the past.

Louis Opera Quartet

I don’t care. I don’t care. S A T B (solo)

tutti, div.

I Vn. II

(1 sola)

Va. (gle altre, div.) (div.)

1 solo

Vc. 1 solo, col legno

Cb.

du

de

stri

er,


25

Picc.

Fl.

1 O

(stagger breathing)

O

(stagger breathing)

1 Ob.

to Oboe

Oboe

2

1 Cl. in B

to Clarinet in B

Clarinet in B

(stagger breathing)

2 (stagger breathing)

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3

Synth.

Harp

W. w/ H.

Marquis 8

But

will

he

have

Louis 3

Trio of Gossips

A

com mon er is court ing Three Chattering Women:(racing in and out of view)

her. (

= 144)

He’s

in

love.

He’s

in love.

He’s

in

love

Opera Quartet

Beau S A T B (div.)

I Vn.

(div.)

II div.

Va. div.

Vc. tutti

Cb.

unis., sul pont.

mar

chais’s

in


26

10 as before

Picc. as before

Fl.

1

Ob.

1 2 as before

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 with whispa mute, as before

1 Tpt. in C 2

1 2

Tbn.

as before Vib. l.v., sempre

1 Pedal

Perc.

Glock. l.v., sempre as before

2 (WHITE NOISE)

(WILD RUMBLE)

sempre

Synth.

gliss.

l.v. sempre

Celesta

(light appears upstage in the distance)

W. w/ H. (ad lib.)

Marquis 8

her?

(getting angrier and more petulant.)

But will he

have

her?

Louis

Trio of Gossips

I don’t care.

He’s in love with Ma rie An toin

I don’t care.

Don’t!

No!

Don’t care!

ette.

He’s in

Opera Quartet

love. S A T B gli altri

I 1 solo, as before (div.)

Vn.

*

II (as before)

Va. sola (div.)

*

(div.)

*

Va. gle altre

Vc. *

Cb. *One player at a time, change to next note. Do not synchronize. Complete change before end of cue.


ca. 5 sec.

27

Picc. molto

Fl.

1

Ob.

1 2

8va

molto

a2

molto

1 Cl. in B

molto

2 a2

molto

1 2

Bn.

molto

*

1 Hn. in F

molto

*

2

*

accel.

molto

1 Tpt. in C

accel.

*

2

accel. *

1 Tbn.

accel.

*

2

Timp. (Vib.)

Sus. Cym.

1 (Glock.)

Perc.

molto

2 cresc. Crot.

3 cresc. (WHITE SOUND) 8va

** (gliss.)

Synth.

to Piano

Celesta

(singers notice the light)

(the light grows and sparkles)

W. w/ H. Marquis 8

Louis

Opera Quartet

S1 Trio of S2 Gossips A

S A T B ca. 5 sec. ca. 2 sec.

(1 solo) tutti, div. a4, ord.

I gli altri

Vn.

(div.)

tutti, div. a3, ord.

molto

tutte, div. a4, ord.

molto

tutti, div. a3, ord.

molto

II (1 sola)

Va. le altre (div.)

Vc. molto

Cb. *Irregular pulses, getting louder little by little.

molto


28

11

In tempo = 82–84

= 82–84 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 take straight mute

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 8va

Synth.

Piano

(Continue in exact tempo. Do not align with voice.)

*

secco

Piano

( B C D E F G A

Harp

Beaumarchais:

) secco, brittle

*

con rubato (ignore accompaniment)

jaunty

Beau.

All

pow er ful Queen of Beau

= 82–84 al sord.

I Vn.

al sord.

II al sord.

Va.

Vc.

Cb. *Conductor: Place harp chords in between piano chords in the same tempo.

ty

and rul er

of

my will ing

heart.

In tempo = 82–84


29

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Continue in tempo. Do not align with voice.)

(

C

) D

M.A. in tempo again

con rubato

Beau.

To make you

I Vn. II

Va.

Vc.

Cb.

smile

is

my

du

ty.

To

make

you laugh

is

all

my


30 = 82–84

12

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

with fingernails

C F

brittle

Harp

free Marie Antoinette:

M.A.

Is there no

es cape

from you, Beau mar chais?

Why do

you

per

se

cute me

with

your

love?

Beau.

art.

= 82–84

div. a4, con sord.

I Vn.

div. a4, con sord.

II div. a3, con sord.

Va.

Vc.

Cb.


31

13 A tempo

= 82–84

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

I Beau.

A tempo (div. a4)

I Vn.

(div. a4)

II (div. a3)

Va. unis., pizz.

Vc. pizz.

Cb.

= 82–84

no

long

er

long

to

love.

Leave me

in

peace,

Beau mar

chais.


32

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

slower

M.A.

As col or fades from flow ers,

feel ing leaves the soul. slower, free

= ca. 60 dolce

Beau.

O

I Vn.

*

II *

Va.

Vc.

Cb. *Lyrical, expressive, slower gliss.

ri

on,

O


33

14

ARIA Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C

take straight mute

2 take straight mute

1 Tbn.

take straight mute

2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

quasi recit.

M.A.

They

are

Beau. 3

ri

on,

E

ven

the

moon

moves

And

is

laced gent

ly

by

leaves. div. a6

I unis., non vib.

Vn. II

div. a4

Va.

Vc.

Cb.

al

ways


34 non vib.

stagger breathing

icy non vib.

stagger breathing

icy non vib.

stagger breathing

icy non vib.

stagger breathing

icy non vib.

stagger breathing

icy non vib.

stagger breathing

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2 icy non vib.

stagger breathing

1 icy non vib.

Bn.

stagger breathing

2 icy cuivrĂŠ

1 Hn. in F

cuivrĂŠ

2 with straight mute

1 Tpt. in C

with straight mute

2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2 B.D.

3 (woodwinds) non vib.

(muted brass)

icy

Synth.

Piano

Harp

M.A.

with

me:

The unbounded wait ing,

(half-tone cluster, one player per note)

I Vn. II

Va. div.

Vc. secco div.

Cb. secco

The o

dor of

blood

on

steel.


35 to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 unstopped

1 Hn. in F

unstopped

2 (with straight mute)

remove mute

1 Tpt. in C

remove mute

2

remove mute

1 Tbn.

remove mute

2

Timp.

1

Perc.

2 B.D.

3

(violins)

Synth.

Piano

B C D E F G A

Harp

M.A.

The

ter

ri

ble

sound.

They

are

al

ways

with

me. half-step cluster

div. a6

I Vn.

div. a6

II

Va. (div.)

Vc. (div.)

Cb.

half-step cluster


36

1 Fl. 2

1

Ob. 2

1 Cl. in B 2

1 legato

Bn. 2

legato

1 Hn. in F

legato

2 open

legato

1 Tpt. in C 2 open

1 Tbn.

open

2

Timp. Xyl.

1

Perc.

2

3

(strings)

Synth.

Piano

E

Harp

M.A.

My cry ing child

ren,

The

crowds push

ing,

Sev ered

on **

(div. a6) via sord.

I Vn.

heads

** senza sord. ( )

(div. a6) via sord.

II via sord.

** div. a4, senza sord. (

)

Va. * div. a4 ** ( )

Vc. non div.

Cb. 0

*If more than four players are available, fill in A and B in middle of Vc. chord, and B and C in middle of Va. chord. ** Rapid, non-synchronized bows.

senza sord. ( )

pikes,


37 **

1 dolce Flute

Fl.

**

2 *

1 Ob.

*

2 **

1 Cl. in B

**

2

1 Bn. 2

1 Hn. in F 2 *

sim.

1 Tpt. in C

*

open

sim.

2

1 Tbn. 2

Timp. *

(Xyl.)

1 Glock.

Perc.

l.v.

2

3

Synth.

l.v.

8va

Piano

l.v.

Harp

M.A.

Ah

Ah

Ah

Lord,

let

I Vn. II

Va. pizz.

Vc.

Cb. *Play fast, irregular attacks—like fast Morse code. **Play legato as fast as possible between the highest note possible and a diminished 5th below. Vary patterns, use all chromatic tones, do not synchronize.

me

for

get!


38

15 1

Fl.

*

2

1 Ob. 2 *

1 Cl. in B

*

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib.*

1 Pedal

Perc.

2

3

Synth.

Piano

Harp

simply, poco rubato

M.A.

Once

there was

a

gold en bird

I Vn. II

Va.

Vc. (actual pitch)

Cb. *Slow, legatatissimo, asynchronous pulses with barely audible attacks. Keep the sound going.

In

a

gar den of

sil ver trees.

From

the court yard


39 = 60 1 3

Fl. 2

1 dolce

Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

could be heard

The

laugh

ter

of

wom en

at

their

ease.

= 60 I Vn. II

Va.

Vc.

Cb.

dolce

3


40 (continue in same tempo)

non vib.

1 icy non vib.

Fl. 2

icy non vib.

(continue in same tempo)

1 icy non vib.

Ob. 2

icy non vib.

1 Cl. in B

icy non vib.

2 icy non vib.

1 icy non vib.

Bn. 2

icy

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

(woodwinds) non vib.

icy

Synth.

Piano

Harp

cresc.

M.A.

They

are

div. a6

(half-step cluster)

div. a6

(half-step cluster)

al

ways

with

me:

I Vn. II div. a2

Va.

Vc.

Cb.

molto


41

1 Fl. 2

1 Ob. 2

Cl. in B

1 2

Bn.

1 2 solo, slow oscillations

(+) 1 Hn. in F 2

1 Tpt. in C 2 take straight mute

with straight mute

1 Tbn.

nasty

molto

2

Timp.

1 5 Temple Blocks

Perc.

2 B.D.

3

Piano

1/2-tone cluster

8ba

8ba

M.A.

The break ing

win

dows;

(s)

The

throngs push ing, (sul pont.)

*

Vn. I (sul pont.)

*

(sul pont.)

*

Vn. II *

*

Va.

*

*

(sul pont.)

(sul pont.)

(sul pont.)

(sul pont.)

Vc. *

*

Cb. *

*Sul ponticello, non legato.

(sul pont.)

(sul pont.)

(sul pont.)


42

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 open

1 Tbn. 2

Timp.

1

Perc.

2

3

(brass)

Synth.

Piano

Harp

3

M.A.

Hawk

ing

sou

ven

iers,

Stuff

ing

food

in

to

jeer

ing

mouths that

foam

with

wine;

sul ponticello al

ord.

sul ponticello al

ord.

sul ponticello al

ord.

sul ponticello al

ord.

sul ponticello al

ord.

I Vn. II

Va.

Vc.

Cb.


43

16 = 60 1 Fl. 2

Ob.

1 2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F 2 take harmon mute

1 Tpt. in C

take harmon mute

2 slow, even gliss.

1 Tbn.

slow, even gliss.

2 Tune 2 timpani below pitch level

Timp.

1 3 Tom-toms (Low)

Perc.

2 B.D.

3

(strings)

Synth.

Piano

M.A.

a

scream

ing

horse;

(s)

a

= 60 I Vn. II div.

Va.

div.

div.

Vc.

div.

div. a2

Cb.


44

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

cuivré

1 (non dim.)

Hn. in F

cuivré

2 (non dim.)

with harmon mute

1 Tpt. in C

with harmon mute

2

1 Tbn. 2

Timp.

1

Perc.

2 (B.D.)

3

Synth.

Piano

M.A. 3

man mount ing a

1-3 Vn. I 4-6

1-3 Vn. II 4-6

Va.

Vc.

Cb.

girl.

Ah

Ah

Ah

Ah

Lord,


45

1 legatissimo

Fl. to Piccolo

2

1 Ob. 2

1 Cl. in B 2 legatissimo

Bn.

1 to Contrabassoon

Contrabassoon

Cbn.

1 Hn. in F 2

take straight mute

1 Tpt. in C

take straight mute

2 take straight mute

1 Tbn.

take straight mute

2

Timp. Vib., bowed (bow, let ring, bow‌)

Ratchet

1 legatissimo, seamless Pedal

Lion’s Roar

Perc.

2 B.D.

3 (winds, brass)

Synth.

Piano

8ba

Harp

8ba

M.A.

Lord,

let

me

for

get,

Let

me

for

get!

I Vn. II 2 players, con sord. (last stand)

al sord.

Va. unis., non vib.

vib.

Vc. unis., non vib.

Cb.

pizz.


46

17 Piccolo, solo

Picc.

Fl.

1

1 Ob. 2

1 dolce

Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3 (va. harmonic)

Synth.

Piano

Harp

*

M.A.

Once

there was a

gold en bird

In

div. a5

I div. a2

Vn. I

dolce

unis., con sord.

II

3 3

(1 sola)

2 players, div. a2, con sord.

legatissimo

Va.

(1 sola)

2 players, div. a2, con sord.

legatissimo

Vc.

Cb. *Singer continues in 7/8 time, ignoring conductor, who also continues in time. Align at the free beats.


47

Picc.

Fl.

1

1 Ob.

*

2 *

1 Cl. in B

*

2

Bn.

1

Cbn.

1 Hn. in F 2 *

with straight mute

*

with straight mute

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

a

gar den

of

sil ver trees.

From

the court yard

could be heard

The

tutti, div. via sord.

I Vn. II (div. a3)

2 players, senza sord.

Va.

div. a3

Vc.

Cb. * At approximate position play from niente to

back to niente.

laugh

ter

of


48

Picc.

Fl.

1 rall.

1 Ob. 2

1 Cl. in B

(as before)

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

rall.

poss.

a tempo

M.A.

wom en

at their

ease.

Once

div. a4, senza sord.

there

was

a

gold en bird

In

(div. a4)

I div. a4, senza sord.

Vn. II (2 players)

Va. (div. a3)

Vc.

Cb.

gle altre senza sord.

a gar den of

sil

ver

trees.


49

18 to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2 **

Bn.

1

Cbn.

*

-

-

-

-

-

-

-

-

-

-

*

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

l.v.

1 Chimes

Perc.

2

3

Synth.

not too fast

8va

Piano

Harp

M.A.

tutti, unis.

It

is

8va

I tutti, unis.

Vn. II 1 sola

Va. div. a4

Vc. dolce ***

Cb.

div. a2 0

0

0

0

*Slow oscillations of pitch and timbre, using right hand. **Slow oscillations of pitch and timbre. Align with horns. ***Contrabass 1 and 2 hold open G, play slow gliss. from A to A and back to A ; 3 holds open D and plays slow gliss. from D to C and back to D.

time;


50

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

1 Hn. in F

-

-

-

-

-

-

-

-

-

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 Chimes

Perc.

2

3

Synth.

8va

8va

Piano

Harp

3

M.A.

E le ven o’ clock.

8

I Vn. II

Va.

Vc.

Cb.

“What will you

eat?”

(t)

they ask.

-


51

19

= 60

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 Chimes

Perc.

2

3

Synth.

8va

Piano

Harp

M.A.

“You will wear

white,” (te)

they say.

They cut my

hair.

They

= 60

8

non vib.

div. a5

(

half-step cluster

)

I Vn. non vib.

div. a5

(

)

half-step cluster

II non vib.

div. a4

(

)

div. a4

(

)

(

)

Va.

Vc.

(div. a3)

Cb.


52

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1 dolce

Cbn. dolce

1 Hn. in F

dolce

2 dolce

1 Tpt. in C 2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2 B.D.

3 (low strings)

Synth.

Piano

EFGA B C D

Harp

M.A.

give

me back my

ring.

Am I

go

ing

to

my

wed

ding? div. a2

(div. a5)

I Vn. (div. a5)

div. a2

II (div. a4)

Va. (div. a4)

sul pont.

Vc. (div. a3)

Cb.

sul pont.


53

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1 sim.

Cbn. sim. cuivrĂŠ

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2 (B.D.)

3

Synth.

Piano

Harp

5

5

5

5

5

M.A. 5

3

The back of

an ox cart

in the Oc

to

ber

sun.

My peo ple in sult me, they scorn me, harsh

I Vn.

harsh

II

Va.

Vc.

Cb.

They spit on

me

as

I


54

20

Faster

= 75

1 Fl.

Flute

poss.

to Piccolo

2 poss.

1 Ob. 2

1 Cl. in B

2

Bn.

1 to Bassoon

Cbn.

cuivrè

take straight mute

1 Hn. in F

take straight mute

2 (with straight mute)

1 3 3

3

3

jaunty (with straight mute)

Tpt. in C

3

3 3

3 3

3

3 3

3

3 3

3 3

3

3

3

3 3

3

3 3 3

3

2 jaunty

3

3

3

3

3

1 Tbn. 2

Timp. Vib.

1 Tambourine

Perc.

2 3

(B.D.)

3 3

3

3

3

3

3

3

3

3

3

3

3

3 3

3

Synth.

Piano

Harp

(free)

M.A.

pass.

What are those unis.

I unis.

Vn. II

Va.

Vc.

Cb.

flames?

Flags


55 Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 3

3

3

3

3 3

3

3

3

3

Tpt. in C

3 3

3 3

3

3 3

3 3

3 3

3 3

3

3 3

3

3

3

3

3

3 3

3

3 3

2 3

3

3

3

3

3

3

3 3

3

3

3

1 Tbn. 2

Timp. Glock, with medium sticks

1 (Tamb.)

Perc.

2 3

3

3

3

3

3

3

3

3

B.D.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 ad lib.

Synth.

Piano

Harp

M.A. 3

in

3

the

streets

of Saint

Hon o

rĂŠ.

What

I Vn. II 8va

div.

Va.

Vc.

Cb.

is

that

3


56

21 Picc.

Fl.

1

1 Ob.

to English Horn

2

1 Cl. in B 2

1

Bn.

Bassoon

2

1 Hn. in F 2

1 Tpt. in C

3

3

3

3

3

3 3

2 3

3

3

3

3

1 Tbn. 2

Timp. (Glock.)

S.D.

1 Tenor Drum

(Tamb.)

Perc.

2 3

(B.D.)

3

3

3

3

3

B.D.

3 Low Gong

Synth.

Piano

8ba

with nails

Harp

8ba

3

M.A.

sound?

My

fu

ner

al

drums.

I Vn. II (div.) 8

Va.

Vc. 0

Cb.


57

Picc.

Fl.

1

Ob.

1

E.H.

1 Cl. in B 2

1

Bn. 2

Hn. in F

1 2

Tpt. in C

1 2

Tbn.

1 2

Timp. (S.D.)

1 (Ten. Dr.)

Perc.

2 B.D.

3 (Low Gong)

Synth.

Piano

8ba

Harp

8ba

(rush)

(rush) 6

(in a trance)

6

M.A.

I

climb the

stairs.

AmI dream ing?

Some one help me!

Vn. I

Vn. II

1 2

Vn. II

3

Vn. II

4

Vn. II

5 6

div.

1

Va.

2 div.

3 4 Vc. (1 player, pizz.)

Cb.

0

0

0

0


58

Picc.

Fl.

1

Ob.

1

Cl. in B

1 2

(1.)

1

Bn. 2

Hn. in F

1 2

Tbn.

1 2

Timp. (S.D.)

1 (Ten. Dr.)

Perc.

2 B.D.

3 (Low Gong)

(CONTRABASS)

Synth.

Piano

8ba

Harp

8ba

a tempo 3

3

M.A. 3

Three

steps.

Four.

I want to

cry

out,

I am in no cent!

8va

1 8va

2 8va

Vn. I

3 4

5

6

1 2

3 Vn. II 4

5 6 Va. 1 2 Cb.

0

3

0

0


59

Picc.

Ob.

1 English Horn

E.H.

Cl. in B

1 2

1

Bn. 2 with straight mute

1 Hn. in F

with straight mute

2 (with straight mute)

1 3

Tpt. in C

3

3 3

3 3

3 3

3 3

3

3 3

3

(with straight mute)

3 3

3

3 3

3

3 3 3

2 3

3

3

3

3

(with straight mute)

1 Tbn.

(with straight mute)

2

Timp. (S.D.)

1 (Ten. Dr.)

Perc.

2 Tamb.

(B.D.)

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 (B.D.) (MUTED TROMBONE)

Synth.

Piano

8ba

Harp

8ba

3

M.A. 3

3

in no cent! 8

I Vn. II

Va.

Vc.

1 2 Cb. 3

3

Sev

en.

Eight.

Take

care

of my


60

Picc.

Fl.

1

Ob.

1

E.H.

1 Cl. in B 2

1

Bn. 2

1 Hn. in F 2

1 3

3

3

3 3

3

3

Tpt. in C

3

3 3

3

3

3

3

3

3

3 3

3

3

3 3

3

3 3

3 3

3 3

3

3

3

3

3 3

3

3

2 3

3

3

3 3

3

3 3

3

3

3

1 Tbn. 2

Timp. (S.D.)

Glock.

1 (Ten. Dr.)

Perc.

2 3

(Tamb.)

3

3

3

3 3

3

3 3

3

Don’t

take

3

3

3

3

3

3

3

3

3

3 3

3

3 (B.D.) (STRINGS)

Synth.

Piano

8ba

Harp

8ba

M.A.

child ren! 8

(div. a6)

I (div. a6)

Vn. II (div. a4)

Va. (div. a4)

Vc. (div.)

Cb.

1 2 3

Nine.

Ten.

me!

Don’t

take

me!

3

3


61

Picc.

Fl.

1

Ob.

1

E.H.

1 Cl. in B 2 **

1 poss.

Bn.

**

2 poss. *

**

1 poss.

Hn. in F

*

**

2 poss.

**

1 Tpt. in C

**

2 *

**

1 poss.

Tbn.

*

**

2 poss.

Timp. (Glock.)

1 (Ten. Dr.)

Perc.

(S.D.)

2 Tamb.

(B.D.)

3 3

3

(STRINGS)

Synth.

Piano

8ba

C E G

Harp

poss.

8ba

M.A.

Lord, 8

(div. a6) ***

I (div. a6)

***

Vn. II (div. a4)

***

Va. (div. a4) (

)

slow gliss.

**

***

**

***

**

***

Vc. (div.) (

) slow gliss.

1 2 arco (

Cb.

) slow gliss.

3 *Fast, irregular patterns, like morse code. **Highest loud note possible. ***As loud as possible, quasi-glissando, roughly following squiggly line.

3


62

22

= 60 to Flute

Flute

Picc.

Fl.

1 3

Ob.

3

1 3

E.H.

1 Cl. in B

3

2

1 Bn.

to Contrabassoon

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib.

1 (S.D.)

Perc.

Pedal

2 (Tamb.)

3 (B.D.) full hand clusters

Synth.

(double forearm cluster)

Piano

Harp

M.A.

let me for get!

Let me for get!

Once

there was‌

= 60

div.

I Vn. div.

II 1 sola div.

unis.

div.

unis.

Va.

Vc.

div. a2

Cb.

unis.


63

23 1 Fl. 2

Ob.

1

E.H.

1

()

2

()

1

()

Cl. in B

Bn.

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Louis: (spoken)

Recit.

(to Marie Antoinette)

Louis

My wife was always hard to please.

I Vn. II

Va.

Vc.

Cb.

An

to ni

a, you must change with the times.

We are

dead!

It

is

time to

re


64 Allegro

= 144

a2

Fl.

1 2 1

Ob.

3

3

3

3

3

3

3

3

3

3

3

3

2 1.

Cl. in B

Bn.

1 2

1

Cbn. open

Hn. in F

3

3

1 2 with straight mute

Tpt. in C

1 2

Tbn.

1 2

1.

Timp. Ratchet

1 3

T. Blks.

Perc.

3

2

3 (strings)

Synth.

Piano

with nails

Harp

3

(Louis stops them with a withering stare)

3

W. w. H.

Bored.

Bored.

Marq. 8

3

(interrupted by Ghosts)

3

Bored.

Bored.

Louis

joice!

3 Women

S1 3

3

3

3

3

3

It is time to re joice!

3

3

3

3

3

3

It is time to re–

S2

It is time to re joice!

It is time to re–

A

It is time to re joice!

It is time to re–

S

Opera Ghosts

Dead.

Dead.

Dead.

Dead.

Dead.

A

Dead

Rug

Dead

Rug

Dead.

T 8

Bored.

Bored.

Bored.

Bored.

B

Allegro

= 144

non div.

3

3

Po ta to.

3

3

Po ta to.

pizz.

I sul pont.

Vn. II

non div.

*

div.

Va. non div.

* div.

Vc. pizz.

Cb. *Very slow quarter-tone oscillations.

arco sul pont.

(sul pont.)

Bored.


65

1 Fl. 2

Ob.

1

E.H.

1 Cl. in B 2

Bn.

1

Cbn.

rip

1 Hn. in F

rip

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

E F G A B C D

Harp

(recitative) espr., slower

Beau. (recitative) (serious again)

On ly

if her ma jes ty

de sires

it. dolce

Louis

Beau mar chais, you pro mised us an op’

I Vn. II

Va.

Vc.

Cb.

ra.

To please

us,

An ton

ia?


66

24

Allegro

= 144

a2

Fl.

1 2

1

3 3

3 3

3

3

3

3

3

3

3

3

3

3

3

Ob. 2 3

Cl. in B

3

1 2 3

Bn.

3

3

3

1 to Bassoon

Cbn. a2

Hn. in F

1 2

Tpt. in C

1 2

fltg. (with straight mute)

remove mute

1.

Tbn.

1 2

Timp. Ratchet

1 Perc.

3

T. Blks.

3

3

3

3

2 (strings)

Synth.

8ba

Piano

Harp

W. w. H.

Bored.

Bored.

Bored.

Bored. (glares murderously)

Marq. 8

spoken

Louis

“Really!� S1

3

3 Women

3

It is

3 3

3

time to re joice!

It is

3

3

time to re joice!

It is

S2 3

It is

3

3

3

3

time to re joice!

It is

3

3

time to re joice!

It is

A 3

It is

3

3

3

time to re joice!

It is

3

3

3

time to re joice!

It is

S

Opera Ghosts

Please us.

Egg.

Please us.

Egg.

A

Please us.

Rug.

Please. us.

Rug.

T 8

Bored.

Bored.

Bored.

Bored.

B

Allegro

non div., arco

= 144

3

3

Po ta to.

I Vn. II non div.,

Va. non div.,

Vc. div., pizz.

Cb.

unis., arco, sul pont.

3

3

Po ta to.


67

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Beaumarchais: (freely, to Marie Antoinette) (sung) espr.

(whispered)

Beau.

I

I Vn. II

Va.

Vc.

Cb.

am

a doc tor,your Ma jes ty.

My op ’ra can cure me lan cho ly.

My words are

a

spell.

Lis ten to my ti

tle:

“A


68

Fl.

1 2

Ob.

1 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

Tpt. in C

1 2

1 Tbn. 2

Timp.

1

Perc.

2 B.D.

3

Synth.

Piano

Harp

Beau.

Fi

ga

ro

for

An

to

ni

a.� poss. (with a sense of wonderment)

S

Fi

ga

ro?

Oooh

Opera Ghosts

whispered

A

a

Fi

ga

ro?

for

An

to

ni

a

(like a sigh)

T 8

(intakes of breath)

Ah (like a memory) 3

B con sord.

(intakes of breath)

Fi

I Vn.

dolce con sord.

(tutti)

dolce con sord.

1 sola, via sord., gli altri, div.

II dolce

Va. dolce con sord.

dolce 3 soli, via sord., gli altri

Vc. dolce con sord.

dolce (tutti)

Cb. dolce

dolce

ga

ro


25

Overture

69

= 72 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 (HARPSICHORD)

secco

Synth.

Piano

Harp

(Clap hands) (curtains of the little (The Almaviva drawing room in Paris. Elegant with many doors, sofas, chairs, a chest and large windows. It is empty.) stage fly open)

(A door opens and Figaro peaks into the room. He quietly enters, mopping his brow. He has been running.)

Beau.

Watch!

= 72 1 solo, pizz., senza sord.

arco

I Vn. II 1 sola, pizz., senza sord.

Va. div., senza sord.

1 2

Vc.

1 solo, pizz., senza sord.

arco

pizz.

3 secco 2 soli, div., senza sord. 1. arco, 2. pizz.

Cb.

arco


70

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

A

Harp

(He looks around slowly, goes to an armchair…)

(…and is about to sit down, when…)

(solo)

I Vn. II (sola) arco

Va. arco

pizz.

1.

1 2

2.

(arco) pizz.

Vc.

(pizz.)

3

1 (arco)

Cb.

1.

1.

arco


71

= 144

26 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

Hn. in F

1 2

Tpt. in C

1 2

Tbn.

1 2

Timp.

Perc.

1 2 3 (BASSOONS)

Synth.

Piano

Harp

(A chorus of pursuers jump up, point at Figaro and begin to chase him.)

(The Muscovite Traders block the door.)

(He begins the chase.)

Figaro

Oh,

no!

Here we go again!

Chorus of Pursuers

S

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

A

T 8

B

= 144

tutti, senza sord.

I tutti, non div., senza sord.

Vn.

div. a2

II tutti, non div. (senza sord.)

div. a2

tutti, non div. (senza sord.)

div. a2

Va.

Vc. tutti, non div. (senza sord.)

Cb.

0


72

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 secco

Bn. 2

O

1 secco

Hn. in F

O

2 secco

take straight mute

with straight mute

take straight mute

with straight mute

1 Tpt. in C

remove mute

2 take straight mute

1 Tbn.

take straight mute

2

Timp.

Perc.

1 2 3

Synth.

15ma

Piano

S

Chorus of Pursuers

Stop! A

Stop!

Old Man:

T 8

Stop!

3 Muscovite Traders:

You

thief, you stole my

Tutti

daugh

ter!

Other Man in Room: (spoken)

B

You owe

me

mo

ney!

Stop!

My

wife!

I

Vn.

unis.

div. a2

unis.

II

div. a2

Va.

div. a2

Vc.

Cb.

non div.


73

27 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

O

3

3

3

3

3

3

3

3

1 Hn. in F

O

2 open

take straight mute

with straight mute

1 Tpt. in C

open

take straight mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3 8va

Piano

Susanna:

Susanna

You’ll pay, you’ll

Figaro:

pay, you’ll pay, you’ll

pay!

Figaro

My

wife!

Chorus of Pursuers

S

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

A

T 8

B non div.

I sub. non div.

Vn. II sub.

Va. unis.

Vc.

Cb.


74

1 Fl. 2

1 Ob.

4:3

4:3

4:3

4:3

2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 (straight mute)

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Piano

Figaro

Oops!

Chorus of Pursuers

S

A Man with lather on face:

T 8

Fi ga ro!

B

I Vn. II div.

Va. pizz.

Vc.

Cb.

3

3

How could you leave me like this?

4:3

4:3


75 ( = 144) soli

1 Fl.

sub.

soli

2 sub.

1 Ob. 2 3

3

3

3

1 Cl. in B

dolce

3 3

3 3

2 dolce

1 Bn. 2

1 Hn. in F 2 (straight mute)

1 Tpt. in C

(with straight mute)

2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2

3

3

3

3

3

dolce

Harp

(Woman holding an infant pursues Figaro.)

(Figaro pokes head up.)

(Figaro hides.)

Figaro Woman holding infant:

They love me!

S Chorus of Pursuers

3

3

Fi ga ro! Look at your

son.

Give him a

kiss.

Other women holding babies:

dolce

3

3

3

3

A

Where

are

you,

Fi

ga

ro?

Come

to

me,

Fi

ga

ro.

T 8

B

( = 144) I div.

Vn.

3

3

3

3

unis.

II unis., pizz.

dolce arco

Va.

arco, non div.

non div.

non div.

Vc. pizz.

Cb.


76

28 1 Fl. 2

1 Ob. 2 3

3

3

3

1 Cl. in B

3 3

2

1 Bn. 2

3

1 Hn. in F 2 remove mute

1 Tpt. in C

remove mute

2

1 Tbn. 2

Timp.

Perc.

1 2 3 3

3

3

Harp

(Figaro ducks, runs away toward Count Almaviva.) (Almaviva grabs Figaro by the collar.)

Susanna:

3

3

Susanna 3

Where

are

you

Fi

ga

ro?

Come

to

me‌

Count Almaviva: marc.

Almaviva 3

8

Wretch!

(Susanna threatens Figaro with a rolling pin.) Figaro

tutti

Just

lis ten to them.

A

3

dor a ble!

S 3

Stop!

Stop,

Fi ga ro!

tutti

Chorus of Pursuers

3

A

Stop!

Stop,

Fi ga ro!

Stop,

Fi ga ro!

Stop,

Fi ga ro!

tutti

T 8

Stop!

3

tutti

B

Stop!

3

div., pizz.

I Vn.

div.

3

3

3

II

Va. non div.

Vc. arco

Cb.

non div.

non div.

3

Did you for get to de


77

1 Fl. 2

1 Ob. 2

1 Cl. in B 2 a2

Bn.

1 2

3

3

3

3

3

3

3

3

1 Hn. in F 2

open

take straight mute

with straight mute

take straight mute

with straight mute

1 Tpt. in C

open

2

1 Tbn. 2

Timp.

Perc.

1 2 3 8va

Piano

(Susanna marches toward Figaro and Count Almaviva.)

(Susanna points to the children, one by one.) (Figaro breaks away and runs.)

(She continues to point to the baby and mouths the words.)

(

Susanna

(Figaro runs into man with lather on his face.)

)

Is that your child, is that your child, is that your child,

is that your child?

Almaviva 3 8

li ver the let

ter?

Figaro

3 3

No,

mas ter, I swear it.

I’ve ne ver

seenthembe fore!

Chorus of Pursuers

S

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

A

T 8

B unis., arco (non div.)

I non div.

Vn. unis.

II div., pizz.

unis., arco

Va.

Vc. pizz.

Cb.

arco


78

29 =

=

1 Fl. 2

1 4:3

Ob. 2

1 Cl. in B 2

1 Bn. 2 O

1 Hn. in F 2 remove mute

open

1

4:3

Tpt. in C

remove mute

4:3

open

2 (with straight mute)

remove mute

(with straight mute)

remove mute

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

(contrabass)

(They all begin to crowd around Figaro.)

Susanna

Almaviva 3

8

Fi ga ro!

Figaro

Yes,

sir?

Chorus of Pursuers

S

A Man with lather on face:

T 8

3

3

Fi ga ro, when will you

fi nish my shave? 3 Muscovites: a3

B

Fi ga ro, =

you

owe

me

mon

ey.

=

I Vn. div. a3

II div., pizz.

Va.

Vc.

pizz.

Cb.

3

Did you for get to de


79

1 Fl. 2

1 Ob. 2

Cl. in B

1 2

Bn.

1 2

Hn. in F

2 1

a2

3

3

1

3

Tpt. in C

3

3

3

3

3

3

3

2

Tbn.

1 2

Timp.

Perc.

1 2 3 (woodwinds)

(TRUMPET)

Synth.

3

(tuba)

Piano

3

3

3

Harp

3

(Figaro turns to respond to the questions.)

Susanna

Fi ga ro!

Is

that your

child? Is

that your child?

Almaviva 3 8

3

li ver the let

ter?

3

3

Fi ga ro! Did you for get to de li ver the

let

ter?

Figaro Woman with child:

No,

sir.

Yes, mam.

No, mam.

Yes, sir.

No,

sir.

S 3

Fi ga ro! Give him a Chorus of Pursuers

Women with children:

3

kiss. div.

Fi ga ro! Give him a 3

3

3

A

Fi

ga

ro,

Fi

ga

ro,

come

3

to

me,

Fi

ga

ro‌ Man with lather on face:

T 8

Fi ga ro!

3

Fi nish my shave. Muscovites:

B non div.

Fi ga ro!

I Vn. non div.

II

div., pizz.

unis., arco

unis., arco

Va. pizz.

arco

pizz.

arco

Vc. arco

Cb.

0


80 a2

Fl.

1 2

1 Ob. 2

1 Cl. in B 2 (a2)

Bn.

1 2 3

Hn. in F

1 2

Tpt. in C

1 2 3

3

3

3

3

3

open

Tbn.

1 2 3

Timp. Xyl.

1 Perc.

B.D.

3 (low woodwinds)

Synth.

3

3

3

3

3

Piano

3

3

Harp

(The group is stunned by Figaro’s outburst.)

Susanna

Fi ga ro!

Is

that your

child?

Almaviva 3

8

Fi ga ro!

Did you for

3

3

get to de li ver the

lett‌ poss.

Figaro

Yes, Sir,

No, mam,

No,

sir,

yes, mam,

yes,

no, mam, sir,

Stop!

S 3

kiss.

Give him a

Chorus of Pursuers

3

kiss!

3

A Old man in window:

Fi ga ro!

Fi ga ro! You

Come to us thief, you stole my

Fi daugh

ga

ro. ter!

T 3

8

Man with lather on face: Fi ga ro!

Fin ish my

B

You owe div.

us

mo

ney.

Fi ga ro! unis.

non div.

I Vn.

non div.

II

Va.

Vc.

Cb.

(Figaro darts away and resumes the chase.)


81

30 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1

Bn.

2

1 Hn. in F 2 with harmon mute

take harmon mute

1 Tpt. in C

take harmon mute

2 with harmon mute take harmon mute

1 Tbn.

take harmon mute

2

Timp. (Xyl.)

1 Castanets

Perc.

2 Wd. Blk.

3

Synth.

(tbns.)

Piano

Harp

(They all pursue Figaro.)

(Excited by the onstage chase scene, the ghosts initiate a chase of their own, which Marie Antoinette, Beaumarchais, and Louis do not participate in. Madness has broken out, onstage and off.) ad lib shouts like “There he is!”, “over here,” “I see him,” etc.

Chorus of Pursuers

S

Get ’im!

ad lib shouts like “There he is!”, “over here,” “I see him,” etc.

A

Get ’im!

ad lib shouts like “There he is!”, “over here,” “I see him,” etc.

T 8

ad lib shouts like “There he is!”, “over here,” “I see him,” etc.

B

I marc.

Vn.

div. a2 unis., col legno battuto

ord.

col legno battuto

ord.

div. a2

unis., col legno battuto

ord.

col legno battuto

ord.

div. a2

unis., col legno battuto

col legno battuto

ord.

II

Va. ord.

Vc. 0

Cb.

pizz.


82

Fl.

1 2

Ob.

1 2

1 Cl. in B 2

1 Bn. 2 **

1 3

Hn. in F

3

**

*

2 remove mute

1 Tpt. in C

remove mute

2

1 3

with harmon mute

*

Tbn. 2

3

Timp. Xyl.

1 T. Blks.

Perc.

2 Ratchet

(Wd. Blk.)

3

(bass clarinet)

Synth.

(bassoon)

Pno.

Chorus of Pursuers

Harp

S A T B (The pursuers continue to shout as they search for Figaro.)

S

Opera Ghosts

Rug!

(laughter)

A

Dead!

Bored!

3

(laughter)

Dead!

3

T 8

Egg!

Bored!

(laughter)

Egg!

B 3

3

Po ta to!

(laughter)

pizz.

I arco, non div.

Vn.

pizz.

II non div.

Va.

Vc. solo, arco sul pont.

Cb. *Horn 2 plays this cue only if Trombones plays the third bar. Trombone 2 plays this bar if they can not play the third bar. **Horns play only if too high for Trombones.

tutti, arco ord.


83

Fl.

1 2 O

Ob.

1 2

Cl. in B

2 1

Bn.

1 2

Hn. in F

1 2

(a2)

3

3

3

3

3

3

3

3

1.

3

3

3

open

1 3

Tpt. in C

3

open

2

Tbn.

3

1. (with harmon mute)

2. remove mute

*

3

1. and 2. open

1 2 3

3

Xyl.

1 T. Blks.

Perc.

2 Ratchet

3

Synth.

(tuba)

Piano

Harp

3

S Chorus of Pursuers

3

Stop!

Stop,Fi ga ro.

Stop!

Stop, Fi ga ro!

Stop!

Stop,Fi ga ro.

Stop!

Stop, Fi ga ro!

Stop!

Stop, Fi ga ro!

Stop!

Stop, Fi ga ro!

3

A 3 3

T 3

8

Stop!

Stop,Fi ga ro.

B 3

Stop!

3

Stop,Fi ga ro.

S

Opera Ghosts

Rug!

Stop,

Fi

ga ro!

Stop,

Fi

ga ro!

A

Bored!

3 3

T 8

Bored!

B 3

3

Po ta to!

I Vn. II

Va. pizz.

Vc. 1, solo 2-3

2-3 (non div.)

tutti, ord.

pizz. 0

Cb. *As before.

3


84

31 1

3

3

3

3

3

3

Fl. 2

Ob.

1 2

Cl. in B

1 2

Bn.

1 2 with straight mute

take straight mute

3

3

1 Hn. in F

3

3

3

3

take straight mute

with straight mute 3

3

2

3

3

with straight mute

take straight mute

3

3

3

3

1 Tpt. in C

take straight mute

2 take straight mute

1 Tbn.

take straight mute

2

Timp. Trg.

Perc.

1 2 3

(bn., vc., cb.)

Synth.

8va

3

3

3

3

3

3

Piano

S Chorus of Pursuers

Stop! A

Stop! T 8

Stop!

B

Stop! S

Stop!

Stop him, stop Fi ga ro

(laughter)

3

Opera Ghosts

3

A

Stop!

Stop him, stop Fi ga ro

(laughter)

T 8

Stop!

B

Stop!

I

3

Vn.

3

3

pizz.

arco

II

pizz.

Va. arco

pizz.

arco

Vc. unis., arco

Cb.

pizz.


85

32 1

3

Fl. 2

3

1 3

Ob. 2

1 Cl. in B 2

3

3

3

3

3

3

3

3

1 Bn. 2 3

3

3

3

3

3

3

3

3

1 Hn. in F 2

remove mute

1 Tpt. in C 2 with straight mute

1 Tbn.

3

3

3

3

with straight mute

2

Timp. Trg.

Tamb.

2 Perc.

B.D.

3 (muted trombones)

3

3

3

3

Synth.

3

3

3

3

Piano

Harp

whisper

(The music grows softer as the group onstage grows smaller.)

(They finally disappear.)

S

Opera Ghosts

Stop

3

him,

3

A 3

3

Fi ga ro!

whisper

T 8

Stop him, stop Fi ga ro!

3

Stop him,

(laughter) whisper

3

B 3

3

Stop him, stop Fi ga ro!

Stop him, stop‌

(laughter)

I Vn. II

Va. div. a3 3

Vc.

Cb.

3


86 = 144

3

=

*

1 Fl.

to Piccolo

2

1 Ob. 2

1 Cl. in B 2 a2

Bn.

1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

remove mute 3

1 Hn. in F

remove mute

3

2

1 Tpt. in C

with straight mute

remove mute

3

2

remove mute

1 Tbn.

remove mute

2

Timp.

1

Perc.

2 B.D. 3

3

Synth.

Piano 3

Harp

(They finally disappear.)

(Figaro appears through another door and races toward the closet. The quartet of ghosts whisper among themselves until the door slams, indicating the start of Figaro’s aria.)

S 3

Opera Ghosts

Fi ga ro! A 3

Fi ga ro! T 8

3

Fi ga ro!

B 3

Fi ga ro!

= 144

*

I Vn. II

Va.

Vc. col legno battuto 3

Cb. *Repeat as necessary, attacca Aria.

attacca


33

87

Aria = 144

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 open

1 Hn. in F

open

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 Wd. Blks.

Perc.

2 cue Stage Door Knocking

3

Synth.

Piano

Harp

(Figaro slams the door shut. Inside, the pursuers bang loudly.) (Figaro locks door and tosses key out window.) Figaro Door slams shut

(door knocking)

Stg. Dr. Knocking

= 144 I Vn. II

Va. Vc.

Cb.


88 Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 open

take straight mute

open

take straight mute

1 Tpt. in C 2 open

1 Tbn.

open

2 with hard sticks

Timp. Xyl.

1 (Wd. Blks.)

Perc.

2 (Stage Door Knocking)

3

Synth.

(brass)

Piano

Harp

Figaro

They wish they could kill me. Stg. Dr. Knocking

I Vn.

div.

II non div.

Va. div.

Vc.

Cb.

unis.

They wish they could stop me.

They


89 to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 take straight mute

1 Tbn.

take straight mute

2

Timp.

1 Wd. Blks.

Perc.

2 (Stage Door Knocking)

3

Synth.

Piano

Harp

Figaro

hate

me,

they loathe me.

Tell

me

why

do they tor ment me so.

Stg. Dr. Knocking

I Vn. II

Va.

Vc. pizz.

Cb.


90

34 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 with straight mute

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp.

1 Wd. Blks.

Perc.

2 (Stage Door Knocking)

3

(piano)

Synth.

Piano

Harp

(smiles shyly)

(laughs)

falsetto sweetly

(laughs)

Figaro

They’re

jea lous!

They’re jea

lous!

They’re jea lous,they’rejea lous.

They’re

Stg. Dr. Knocking

I Vn.

unis.

II

Va. (div.)

Vc.

(pizz.)

Cb.

arco


91

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

(with straight mute)

1 Tpt. in C

(with straight mute)

2 with straight mute

1 Tbn.

with straight mute

2

Timp. (Wd. Blks.)

2 Perc.

(Stage Door Knocking)

3

(brass)

Synth.

Piano

Harp

(Figaro slams hand against door to stop its banging.)

Figaro

jea

lous!

of

what,‌

Stg. Dr. Knocking arco, div.

pizz.

I Vn.

pizz.

div.

arco

II (non cresc.) pizz.

div.

arco

Va. (non cresc.) unis., pizz.

arco

div.

Vc. (non cresc.) arco, div.

Cb.

(t)


92

35

*

1 Flute

Fl.

*

2

*

1 *

Ob. 2 *

1 Cl. in B 2 *

1 Bn. 2

*

1 Hn. in F

*

2 *

1 Tpt. in C

*

2

1 Tbn.

(with straight mute)

2

Timp. Vib.

1 Pedal

Perc.

2

3

Synth.

Piano

Harp

(Figaro slumps down, imitating a very old man.)

Figaro

You may ask.

I Vn. II unis.

Va. unis.

Vc. unis., pizz.

Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.


93 (

= 144)

Continue in tempo, ignoring conductor

1 Fl. 2

1 Ob. 2

1 Cl. in B

*

2

1 Bn.

to Contrabassoon

*

2

open

1 Hn. in F

open

2 remove mute

1 Tpt. in C

remove mute

2 (with straight mute)

*

1 Tbn.

*

2

Timp. (Vib.)

1

Perc.

2

3

Synth.

Piano

E F G A B C D

Harp

Slow and plodding

(May start earlier)

= ca. 68 **

Figaro

I pant

(

= 144)

Continue in tempo, ignoring conductor

I Vn. II

Va.

Vc. (May start earlier)

Slow and plodding 2 soli, div.

= ca. 68

Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated. **Repeat if needed for staging purposes.

**

when I walk.

I


94

36

= ca. 68

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(out

in out

in out

) 3

Figaro 3

wheeze

= ca. 68 I Vn. II

Va.

Vc. (2 soli, div.)

Cb.

3

3

3

when I

talk.

(cough)

My mus cles are slack.

I’ve a pain in my back.


95

37 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1 Contrabassoon

Cbn. sim.

1 Hn. in F

sub.

2 open

1 Tpt. in C

sub.

open

2 sub.

1 Tbn. 2 sim.

Timp.

1

Perc.

2 Low Drum 3

3

3

3

3

Synth.

Piano

Harp

Figaro 3

My mo

I Vn. II

Va.

Vc. (2 soli, div.)

Cb.

ney is low,

my sta tus

less than quo.

3

I’m poor,

I’m weak,


96 3

= 1 Fl. 2

1 Ob. 2 3

3

3

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F

brassy

sub.

brassy

sub.

2

take straight mute

1 Tpt. in C

take straight mute

2

1 brassy

Tbn.

sub.

2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

Figaro

My fu ture’s ra ther bleak, I’m stooped,

I’m spent,

I’m

al most im po tent. Once mas ter

now va let,

As

for tune would have it,

3

I’ve been 3

= 3

3

3

I Vn. 3 3

II

3 3

Va. 3

Vc. 3

(div.)

Cb.

unis.

div.


97

38 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Figaro starts to straighten up, gains confidence and energy.)

Slowly at first; pause at ’

cadenza (still slow)

Figaro

di plo mat, ac ro bat, Teach er of

I Vn. II

Va.

Vc.

Cb.

et

i quette, Stu dent and swords man,

Spy and mu si

cian.

I’ve been sa tir ist, pes si mist,


98

39 1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

Sur geon and Cal van ist, Span ish e con o mist, Clock mak er, phar ma cist,

Vet ’ri na ri an,

E gal

i

tar

i

an,

Heath en co me di an, Pi ous tra

I dolce div.

Vn. II

dolce unis.

Va. dolce

Vc. dolce

Cb.

unis.


99 accel. poco a poco

40

= 144

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

cadenza Figaro

ge

di an.

I’ve been or

a tor, po et, And

pi rate and pro phet, A

I Vn. II

Va. div.

Cb.

bies, Drunk en and so ber, A

= 144

accel. poco a poco

Vc.

man for the la dies And fa ther of ba


100 rall.

subito a tempo (with ĂŠlan)

= 144

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2 with straight mute

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

hus band and Sail

or,

Bar ber and broth er And ban ker and lov

rall.

er.

Di plo mat, ac

subito a tempo (with ĂŠlan) pizz.

I Vn.

pizz.

II

pizz.

Va. unis.

pizz.

Vc. pizz.

Cb.

ro bat, Teach er

of

et

= 144

i quette, Stu dent and swords man,


101

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2 remove mute

1 Tpt. in C

remove mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

Spy and mu

si

(pizz.)

cian,

Sa

tir ist, pes

si mist, Sur geon and Cal vin ist, Span ish

e

con

o mist, Clock mak er, phar ma cist,

Vet ’ri nar arco

I Vn.

(pizz.)

dolce div., arco

(pizz.)

dolce arco

II

Va. (pizz.)

dolce arco

Vc. (pizz.)

Cb.

dolce

i

an,


102

1 Fl.

to Piccolo

2

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

E

gal

i

ta

ri

an, Heath en co me

di

an,

Pi ous tra ge

di

an,

Or

a

tor, po

et, And

pi rate and pro phet, A

man for the la dies And

I Vn.

unis.

II

Va.

div.

Vc.

arco

Cb.


103

41 rall.

a tempo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

Bn.

1 cresc. poco a poco

Cbn. cresc. poco a poco

1 Hn. in F

staccatissimo

2 staccatissimo

open

1 Tpt. in C

staccatissimo

open

2 staccatissimo

1 staccatissimo

Tbn. 2

staccatissimo

Timp. secco

1

Perc.

2 Choke Cym.

3 secco

Synth.

secco

Piano

Harp

cresc. poco a poco

Figaro

fath er

of

ba

bies, Drunk en and so ber, A

hus band and sail

or,

Bank er and broth er And bar ber and lov

rall.

er.

Di plo mat, ac

a tempo

I cresc. poco a poco

Vn. non div.

II cresc. poco a poco non div.

Va. (div.)

cresc. poco a poco unis.

Vc. cresc. poco a poco

Cb. cresc. poco a poco

ro bat,

non div.


104 Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Glock.

1

Perc.

2 (Cym.)

3

Synth.

(tuba)

Piano

Harp

Figaro

Teach er

of

et

(non div.)

I Vn.

(non div.)

II (non div.)

Va.

Vc.

Cb.

i quette, Stu dent and swords man,

Spy and mu

si

cian,

Sa

tir ist, pes

si mist, Sur geon and Cal vin ist,

Span ish

e

con

o mist,


105

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Glock.)

1

Perc.

2 (Cym.)

3

(brass)

Synth.

Piano

Harp

Figaro

Clock mak er, phar ma cist, Bank er and Bar ber (and) Broth er and lov

er, Drunk en and so ber, A

hus band and sail or, And

now div.

I Vn.

div.

II div.

Va. div.

Vc. div.

Cb.

I’m

a


106

42 a tempo Picc.

Fl.

1

1

Ob. 2

1 Cl. in B 2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3 (low woodwinds, strings) *

Synth.

Piano

Harp

Figaro

fail

ure!

I’ve

seen

ev

a tempo div. al sord.

I Vn.

al sord.

II div. unis.

Va.

Vc. unis.

Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.

’ry

thing,

done


107

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

Bn.

1

to Bassoon

Cbn.

1 Hn. in F 2 take straight mute

1 Tpt. in C

take straight mute

2 *

take straight mute

1 take straight mute

Tbn.

*

2

Timp.

1

Perc.

2 B.D.

3

Synth.

Piano

with nail

E F G A B C D

Harp

tratt.

Figaro

ev

’ry

thing,

had

ev

’ry

thing,

I Vn. II

Va.

Vc.

Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.

and lost

ev

’ry

thing.


108 = 80–84

43

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn.

legatissimo

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Marie Antoinette:

M.A. 3

Poor Fi ga ro. Woman with Hat:

W. w/Hat

Poor man,

poor

man.

freely

Figaro

Of

what

then

are

they

jea

= 80–84

lous?

My

div., con sord.

I Vn.

div., con sord.

II div.

al sord.

(div.)

al sord.

Va.

Vc. div.

Cb.

spir

it


109

Picc.

Fl.

1 legatissimo

1 Ob. 2 3

3

3

3

1 Cl. in B

legatissimo

2

1 Bn. 2

1 Hn. in F

3

3

3

2 legatissimo

3

3

3

3

3

3

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

slow and even 3

3

3

Figaro

A

va

por

del

3

3

li

ques

cent,

An

ef

fer

ves

cent

li

I Vn. II unis., con sord. 3

Va. unis., con sord.

Vc.

Cb.


110

Picc.

Fl.

1 3

3

3

3

1 legatissimo

Ob. 2

1 Cl. in B 2

1 Bn. 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

3

Harp

3

3

3

Figaro 3

3

3

quid Per va ding, in va

ding, tak ing my bo dy,

3

3

3

Mak ing me flu id,

3

light,

buo yant, I’m sun light,

a

moon beam, And

care free I fly to the

unis. (con sord.)

I Vn.

3

3

legatissimo

unis. (con sord.)

3

3

II legatissimo 3

3

Va. 3

3

3

3

3

3

3 3

Vc. unis. (div.)

Cb.

3 3

legatissimo

3

3

3

3

3

3

3


111

44 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Glock., with soft sticks

1

Crot.

Perc.

2

3 (woodwinds)

Synth.

Harp

Figaro

stars.

Ca pel div. a3

I div. a3

Vn. II div. a4

Va. 3 players

Vc. dolce

Cb.

la,

Cari

na,

Spi

ca,

Auri

ga,

Li

bra,

Ly ra,

An


112

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2

3

Synth.

Piano

dolce

Harp

Figaro

dro

me

(div. a3)

I (div. a3)

Vn. II

(div. a4)

Va. (3 players)

Vc.

Cb.

da,

For

nax,

Phoe nix, Bel

la

trix,

Pol

lux

Joy!

Joy!

Care free

I

fly

to

the


113

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2 Vib. l.v.

3 (GUITAR)

Synth.

Pedal

dolce

Piano

dolce

Harp

Figaro

stars.

Vul

Vn. I solo

Vn. I gli altri

Vn. II

Va. 3 soli, div. 3 soli

Vc.

div., pizz.

Cb.

pe

cu

la,

Ve

la,

Co

lum

ba,

A

ra,

La cer

ta,


114

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2 (Vib.)

3

(GUITAR)

Synth.

Piano

Harp

Figaro

Lu

Vn. I solo

Vn. I gli altri

Vn. II

Va. (3 soli)

Vc.

Cb.

pus,

Le

pus,

Joy!

Joy!

Joy!

Pe

ga sus,

Per

se us,

A qui la.


115

45 = 144 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 (ad lib.)

1 Hn. in F 2 with straight mute

1 Tpt. in C

with straight mute

2 with straight mute

1 with straight mute

Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2 Stage Door Knocking

3 Door Slam

Synth.

Piano

Harp

Figaro

Stg. Door knocking

*

= 144 Vn. I solo

Vn. I gli altri

Vn. II

Va.

Vc.

Cb. *Conductor cues and conducts stage door knocking, which synchronizes the orchestra.

Wd. Blks.


116

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn.

Bassoon 2

1 Hn. in F 2 remove mute

1 Tpt. in C

remove mute

2 remove mute

1 Tbn.

remove mute

2

Timp. (Glock.)

1 Stage Door Knocking (Crot.)

Perc.

2 (Stage Door Knocking) Wd. Blks.

3

Synth.

Piano

Harp

Figaro

Stg. Door knocking

Vn. I solo unis.

via sord.

unis.

via sord.

unis.

via sord.

Vn. I gli altri

Vn. II

Va.

Vc.

Cb.


117

46 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 open take straight mute

1 Tpt. in C

open

take straight mute

2 open

1 Tbn.

open

2 with hard sticks

Timp. Xyl.

1 Stage Door Knocking

Perc.

2 Stage Door Knocking

Stage Door Knocking

Wd. Blks.

3

Synth.

(brass)

Piano

Figaro

They wish they could kill me. Stg. Door knocking

I non div.

Vn. II

non div.

Va. tutti

Vc.

Cb.

div.

unis.


118 to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 (Stage Door Knocking)

Perc.

2

3

Synth.

Piano

Harp

Figaro

They wish they could stop me.

They hate me,

they loathe me,

And

we

know why.

They must tor ment me so!

Stg. Door knocking

I Vn. II

Va.

Vc. pizz.

Cb.


119

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2 with straight mute

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp.

1 (Stg. Dr. Knocking)

Perc.

2 (Wd. Blks.)

3 (piano)

Synth.

Piano

Harp

Figaro

They’re

jea lous!

They’re jea lous!

They’re jea lous,they’re jea lous!

They’re

Stg. Door knocking

I Vn. II

Va. div.

Vc. (pizz.)

Cb.

arco


120

47 1 Fl.

Flute

to Picc.

2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 (St. Dr. Knocking)

Perc.

2 Wd. Blks.

3

Synth.

Piano

Harp

Figaro

jea

lous!

Yes,

jea

Stg. Door knocking

pizz.

arco

pizz.

arco

I Vn.

div.

II pizz.

arco

Va. pizz.

Vc.

Cb.

arco

div.

lous

Of


121 Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 with straight mute

Tpt. in C

take straight mute

2 with straight mute

take straight mute

1 Tbn.

take straight mute

with straight mute

2

Timp.

1 (St. Dr. Knocking)

Perc.

2 Crash Cym.

3 (woodwinds)

(brass)

Synth.

Piano

non arp.

non arp.

Harp

Figaro

Fi

ga

ro,

Stg. Door knocking

I Vn.

div.

II

Va.

Vc.

Cb.

your

Fi

ga ro.

I’m


122

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F

brassy

2 brassy

1 Tpt. in C 2 remove mute

1 Tbn.

remove mute

2

Timp.

1

Perc.

2

3

8va

(flutes)

Synth.

Piano

Harp

Figaro

home

a

gain!

I’ve been vet er in ar

i an,

E qual i tar i an, Heath en co me di an,

I unis. div.

Vn.

unis.

II

Va.

Vc. flautando, long bow

Cb.

pi ous tra ge di an,


123

48 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Figaro

Or

a

tor, po

et, And

pi rate and pro phet, A

man for the la dies And

fath er

of

ba

bies, Drunk en and so ber, A

hus band and sail

pizz.

I Vn.

pizz.

II pizz.

arco

pizz.

Va.

pizz.

div.

arco

Vc.

pizz.

Cb.

arco

unis.

or,


124 poco rall.

a tempo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F

secco, staccatissimo

2 secco staccatissimo

1 Tpt. in C

secco staccatissimo

2 secco staccatissimo

open

1 secco, staccatissimo open

Tbn. 2

secco, staccatissimo

Timp. Xyl.

1 Choke Cym.

Perc.

2 St. Dr. Knocking

Tenor Drum

3 (brass)

Synth.

Piano

Harp

Figaro

Bank er and broth er And bar ber and lov

er.

Dip lo mat, ac

ro bat, Teach er of

et

i quette, me!

Stg. Door knocking

poco rall.

a tempo non div., arco

I div.

Vn. non div., arco

II non div., arco

Va.

Vc.

Cb.

T. Blks.


125

49 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Xyl.

1 Choke Cym. (S.D.)

Perc.

2 Ten. Dr.

T. Blks.

3

Synth.

Piano

Harp

Figaro

Sa

tir ist, pes

si mist, Sur geon and Cal vin ist,

I

Stg. Door knocking

non div.

I div.

Vn.

non div.

II non div.

Va.

Vc.

Cb.

’ve

been

dip

lo mat, ac

ro bat, Teach er

of

et

i quette,


126 (

= )

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 S.D.

Perc.

2 St. Dr. Knocking

3

Synth.

Piano

Harp

Figaro

Stu dent and swords

man,

Spy and mu

si

cian,

Sa

tir

ist,

pes

si

Stg. Door knocking

(

= )

I Vn.

unis., pizz.

II pizz.

Va. pizz.

Vc. div., pizz.

Cb.

mist,

Sur geon and

Cal

vin

ist,

Span ish

E

co

no mist,


127

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 (S.D.)

Perc.

2 (St. Dr. Knocking)

3

Piano

Harp

Figaro

Clock mak er, phar ma cist.

I’m

Stg. Door knocking

( =

)

I Vn.

(pizz.)

(

= )

arco

II

(pizz.)

(

= )

arco

Va. (pizz.)

arco

Vc. (div., pizz.)

Cb.

unis., arco

non div.

Fi

ga

ro,


128

50

( =

)

Picc.

Fl.

1

Ob.

1 2

Cl. in B

2 1

( =

)

( =

)

( =

)

1 Bn.

(

= )

2

1 Hn. in F 2

(

= )

(

= )

1 Tpt. in C 2

1 Tbn. 2

Timp. Tamb.

1 (S.D., if necessary)

Perc.

2 (Ten. Dr.)

Hi T.-t.

3 (St. Dr. Knocking)

Synth.

(

= )

(

= )

(bns.)

Piano

( =

)

Harp

Figaro

Your

Fi

ga

ro.

I’m *

Stg. Door knocking

( =

)

( =

)

I Vn.

div.

II

Va.

pizz.

(

= )

(

= )

arco

Vc.

pizz.

Cb. *Irregular pounding (more and more joining in), slowly getting both wilder and louder, becoming as loud as possible at the end of the aria.

arco


129

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn.

( =

)

( =

)

( =

)

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Tamb.)

1 (Ten. Dr.)

Perc.

(T.-t.)

2 (St. Dr. Knocking)

3 (bassoon, low strings)

Synth.

Piano

Harp

Figaro

home

a

gain, getting gradually more and more wild

Stg. Door knocking

I Vn. II

Va.

Vc.

Cb.


130

51 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 bell up

1 Hn. in F

brassy bell up

2 brassy

1 Tpt. in C 2

1 Tbn. 2

Timp. Xyl.

1

Perc.

2 (St. Dr. Knocking)

3 (woodwinds)

(brass)

Synth.

Piano

(At this point muffled shouts are heard through the door.)

Figaro

Home

(me)

a

gain!

Stg. Door knocking non div., arco div., pizz.

I Vn. div., pizz.

non div., arco

II

div., pizz.

non div., arco

Va.

non div., arco div., pizz.

div.

Vc.

pizz.

Cb.

arco

div.


131 to Flute

Picc. poss.

Fl.

1 poss.

Ob.

1 2

1 Cl. in B 2

Bn.

1 2

Hn. in F

1 2 take straight mute

a2

Tpt. in C

1 2

Tbn.

1 2

Timp.

Xyl.

Stage Door

1 Perc.

B.D.

2 3

Synth.

(w.w.)

8va

Piano

Harp

(The door flies open and the (He stores at the figures (Beaumarchais closes people spill out on the floor. figures on the floor the curtain of the They look up at Figaro.) and freezes.) little stage.)

(Figaro starts to dance while singing, gradually moving off stage and ignoring the knocking even though by now it is very loud.)

M.A.

(weeping softly) Marquis

Brilliant.

8

Louis

Bravo, Beaumarchais Figaro

(n) S (applause and “bravos”) A (applause and “bravos”) T 8

(applause and “bravos”)

B (applause and “bravos”)

Stg. Door knocking

I Vn. II mettere sord.

Va. unis.

mettere sord.

unis.

mettere sord.

Vc.

Cb.


132

52 Rubato

= ca. 72

1 legato

Fl. 2

1 simply

Ob. 2

1 Cl. in B

legato

2 legato

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib., with softest sticks

1 Pedal

Perc.

2

3

Piano

(Beaumarchais notices Marie Antoinette weeping.)

3

3

M.A.

It

was

so

beau

ti

ful,

so

full

of life.

Then, why are you weeping Your Majesty? Beau. 3

Then, why are you weeping Your Majesty?

An

Quartet of Ghosts

S

A

T 8

B

Rubato

= ca. 72

I Vn. II con sord., sul tasto

Va. con sord. sul tasto

Vc. con sord.

Cb.

to

ni

a,


133

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Vib.)

1 (Pedal)

Perc.

2

3

Piano

Harp

(Marie Antoinette looks at Beaumarchais.) whispered

sung

3

Beau.

I

can

bring

you

back

to

life,

home

a

gain.

May

I

bor row your

neck lace,

Your High ness? whispered

S

Quartet of Ghosts

Her necklace? whispered

A

Her necklace? whispered

T 8

Her necklace? whispered

B

Her necklace? I Vn. II via sord.

pizz., senza sord.

via sord.

pizz., senza sord.

Va.

Vc. senza sord. via sord.

Cb.


134

53 = 60

slow 1/4 tone oscillations, ad lib., asynchronous

1 legatissimo

Fl.

Flute, slow 1/4 tone oscillations, ad lib., asynchronous

2 legatissimo

1 Ob. 2

1 Cl. in B

legatissimo

2 legatissimo

1 legatissimo

Bn. 2

legatissimo

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

D

M.A.

My neck lace?

I

want to

3

live a

gain.

Beau.

With your necklace I shall change your past. I shall show you history

as it should have been.

I’ll make you

live a gain.

= 60 I sul pont.

Vn. II

sul pont.

Va.

Vc.

Cb.


135

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 take straight mute

1 Hn. in F

take straight mute

2

1 Tpt. in C 2 take straight mute

1 sub.

Tbn.

take straight mute

2 sub.

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

You are mad. Beau.

I, Pierre–Augustine Caron de Beaumarchais, will change the course of history‌

with

a

neck

lace.

sul pont. ad lib. pont. al ord. al pont.

I ad lib. pont. al ord. al pont.

Vn. II

ad lib. pont. al ord. al pont.

Va. sul pont.

ad lib. pont. al ord. al pont.

sul pont.

ad lib. pont. al ord. al pont.

Vc.

Cb.


136

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

with straight mute

1 Hn. in F

with straight mute

2

1 Tpt. in C 2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2

3

(muted hn., tbn.)

*

Synth.

Piano

Harp

M.A. (chant)

Beau.

The Revolution never happens! (pont. al ord. al pont.)

I Vn.

(pont. al ord. al pont.)

II (pont. al ord. al pont.)

Va. (pont. al ord. al pont.)

Vc. (pont. al ord. al pont.)

Cb. *Fast, irregular patterns, like morse code.

There is no guillotine!

A new age dawns!

Ma rie An toi nette lives!


137

54 = 60 1 Fl. 2

1 sub.

Ob. 2

sub.

1 Cl. in B 2

1 Bn. 2

1 Hn. in F

sub.

2 sub.

with straight mute

1 sub.

Tpt. in C

with straight mute

2 sub.

1 sub.

Tbn. 2

sub.

Timp.

1

Perc.

2

3

Synth.

sub.

Piano

Harp

M.A.

I

can not love.

Beau.

Love

me,

Your

Ma

jes

Louis: spoken (sarcastic)

ty!

Louis 3

(sul pont. al ord.)

= 60

I sub.

Vn.

(sul pont. al ord.)

II sub. (sul pont. al ord.)

Va. sub. (sul pont. al ord.)

Vc. sub. (sul pont. al ord.)

Cb. sub.

Be lieve her, Beau mar chais.


138

1 legatissimo

Fl. 2

legatissimo

1 Ob. 2

1 Cl. in B

legatissimo

2 legatissimo

1 legatissimo

Bn. 2

legatissimo

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Vib.

1

Glock.

Perc.

Pedal

2

3

Synth.

to Celesta

Piano

D

Harp

(Beaumarchais pours the necklace from one hand to the other.) M.A. shouting

sung

Beau.

I have the pow ers of a god. Louis

I Vn. II

Va.

Vc.

Cb.

Watch me!

Diamonds… I see diamonds… I see a room with many doors…

Dia monds…


139

1 Fl. 2 *

1 Ob.

*

2 *

1 Cl. in B

*

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2 (Vib.)

1 Trg.

Perc.

2 Sus. Cym.

3

(FLURRY)

Synth.

Celesta

E F GA DC B

Harp

(Beaumarchais turns his back to the audience and holds the diamond aloft.) M.A.

Beau.

Doors‌ Louis

I Vn. II

Va.

Vc.

Cb. *Use only the seven pitch classes of the scale indicated by the key signature.

Ma

gic!


140

1 Fl. 2

1 Ob. 2 *

1 Cl. in B

*

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Glock. l.v. sempre

l.v.

1

(Trg.)

Perc.

2 Bell Tree

3

Synth.

Celesta

l.v. sempre

Celesta

l.v. sempre 8va

Harp

brilliant

Beau.

I Vn. II

Va.

Vc.

Cb. *Use only the seven pitch classes of the scale indicated by the key signature.

Sus. Cym.


141

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2 (Bell Tree)

3

Synth.

to Piano

Celesta

Harp

I Vn. II

*

Va. *

Vc.

*

Cb. *Use only the seven pitch classes of the scale indicated by the key signature.


142

55

Scene 1

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

( = ca. 180) Play unconducted, backstage or in orchestra 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Hn. in F

3

2

Tpt. in C

1

2 1 Tbn. 2

Timp.

( = ca. 180) Perc.

Play unconducted, backstage or in orchestra S.D. ad lib. march patterns.

1 2 3

3

3

3

(bn., cb.)

Synth.

Piano

Harp

(Beaumarchais lowers arms. The curtain opens again, revealing the same drawing room. But this time, Count Almaviva is kneeling in the middle of it, frozen position, holding aloft a diamond necklace identical to the one Beaumarchais was holding. Beaumarchias turns around. He has no necklace. (Soldiers are marching around the square. They can be seen through the drawing room window.)

(a cry of pain)

M.A.

Ah! spoken (begin after Horns and Snare Drum) Beau.

It is Paris… the autumn of ninety-three. Terror… Revolution… The king is dead. The Queen awaits her fate in prison.

(Louis goes to his wife’s side.) spoken

Louis

How can you be so cruel? You open old wounds! I Vn. II

Va. div. a4

Vc.

Cb.


143

56 (slow, 1/4 tone oscillation)

1 Fl.

(slow, 1/4 tone oscillation)

2

1 Ob. 2 (slow, 1/4 tone oscillation) ad lib.

1 Cl. in B 2

1 Bn. 2

(slow, 1/4 tone oscillation) 3

3

3

3

3

3

ad lib.

3

1 Hn. in F 2

3

1 Tpt. in C 2 open

take straight mute

open

take straight mute

1 Tbn. 2

Timp. (S.D.)

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

Save me! Save me! spoken

I

want to

live!

(to Marie Antoinette)

Beau.

I can help her. Believe me. You have entrusted your diamonds to your old friend, the Spanish ambassador, Count Almaviva, a character from my first two operas. He has a plan to save you.

I Vn. II

Va.

Vc.

Cb.

My opera will save you, your Majestry. Let me tell you about my other char– acters. Almaviva’s wife,


144

57

Andante

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(We see an apparition of Rosina high above the stage. She is seated in a chair, weeping.) M.A. (Freely, do not line up with orchestra.) Beau.

Rosina!

For the last twenty years her husband has reserved her because— remember Almaviva’s young page Cherubino?

Andante I Vn. II div.

unis.

Va.

div.

unis.

Vc. pizz.

Cb.

arco

He and Rosina had a child…


145 *

Più mosso

= 92

solo

1 3

Fl.

3

3

**

2 3

3

1 Ob. 2 **

1 3

Cl. in B

3

**

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

M.A.

Beau.

Leon! *

And he has fallen in love with Florestine!

She is the Count’s offspring by a nameless woman of high rank.

Stesso tempo

I Vn. II

Va.

Vc.

Cb.

*Strings continue in same tempo. Woodwinds più mosso at = 92. **Continue playing the indicated pitches, alternating duplets and triplets ad lib., freely and asynchronously. The sound should be blurred and liquid.)


146

58 1

Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2 with straight mute

1 Hn. in F

with straight mute

2

with straight mute

1 Tpt. in C

with straight mute

2 with straight mute

1 Tbn.

with straight mute

2

Timp.

1

Perc.

2

3

(oboe, bassoon)

Synth.

Piano

Harp

M.A.

Beau.

Here’s the problem.

I Vn. II

Va.

Vc.

Cb.

Almaviva has never forgiven his wife’s infidelity—

And so he refuses to give his consent to the marriage of his daughter and her son.

Instead, Almaviva has promised his daughter to his best friend… our villain


147 = 144

Vuota

1 Fl. 2

1 Ob. 2

1 Cl. in B 2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 open

1 Tbn.

open

2

Timp.

1

Perc.

2 B.D.

3

Synth.

Piano

Piano

Harp

Beau.

Patrick Honoré Bégearss!

To complete the cast, Figaro and Su– Louis: (interrupting)

Louis

= 144

div. a3 *

I Vn.

div. a3 *

II div. *

Va. div. *

Vc. div. *

Cb. *Ad lib. crescendos and diminuendos.

Get on with it Beaumarchais! I never could follow the last act of The Marriage of Figaro— and this is even worse! Vuota


148

59 1

Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(HARPSICHORD until 64 )

Synth.

Piano

Harp

Count Almaviva: (chant) Almaviva 8

O, heavenly Father, hear my vow: On my life I promise to set free Thy persecuted daughter.

1 solo

I Vn. II 1 sola

Va. 3 soli, div.

Vc. 1 solo

Cb.

Ma rie An

toi nette

of

France‌


149

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Almaviva 8

And if it be Thy will, O Lord, I shall sell these jewels

(1 solo)

I Vn. II (1 sola)

Va.

(3 soli, div. a3)

Vc. (1 solo)

Cb.

to the English am bassador

at

the

reception

of

the Turk ish

em bas sy


150

60

Slow, like a gregorian chant

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Susanna

Almaviva 8

And,

with the one million pounds, grant her Majesty a safe refuge in the New World.

A

ve Ma

ri

a,

gra tia ple

Figaro

(1 solo)

Slow, like a gregorian chant

I Vn.

legato

II (1 sola)

Va. legato (3 soli, div. a3) unis.

Vc. legato 2 soli, div. arco

Cb. pizz.

legato

na.

Be

ne dic tus


151 * 1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

2

Perc.

3

(Hpschd. unto 64 )

Synth.

Piano

Harp

(Count Almaviva hides the jewels in his pocket.) Susanna

and Su san spoken

(interrupted)

na. whisper, aside

sung

Almaviva 8

fruc

tus

ven

tris

Tu

us

Those two. They mustn’t see the jewels.

Who is it? (Allegro

= 144)

(knocking on door, interrupting chant) Figaro

Fi ga ro * I Vn. II

Va. div. a3

Vc.

Cb.

*Stop orchestra when knock interrupts Almaviva. The Stage Door Knocking may begin before the 6/4 bar.

One

mo

ment.


152

61

= 72

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

3

Synth.

A

Harp

(Count Almaviva opens the door. Figaro and Susanna enter with mops, dusters, etc.)

3

D G A

(Figaro and Susanna quickly search the room while pretending to clean. Susanna spies the necklace sticking out of Count Almaviva’s pocket, and…)

3

Susanna 3

Ti dy and clean, neat asa pin.

3

We won’t be a min ute.

Almaviva 8

Figaro

3 3

= 72

3

3

Just clean ing the room,mas ter.

We won’t be a min ute.

(1 solo)

I Vn. II (1 sola)

Va. arco

pizz.

1

Vc.

(arco)

arco

2 3 pizz. pizz. (1 solo)

Cb.

(pizz.) arco


153

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

2

Perc.

3

Synth.

Harp

sing

(snatches the necklace.) (Almaviva snatches it back.) Susanna

What’s this?

and de

(recitative) Almaviva 3

8

None of yourbus’ ness!

Figaro 3

Se crets fromyour loy

(1 solo)

I Vn. II (1 sola)

Va. tutti arco 1

div. 1 solo

Vc. 2 1, arco

Cb.

div.

al Fi ga ro.


154

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

3

3

6

Susanna

vo ted Su san na?

For the love of God for give your wife.

Almaviva 8

3

3

De vo ted and loy al to Ro

si na and her son.

3

I’ll nev er for give

3

that wo man.

Figaro 6

And for give her son. Let him I Vn. II

Va.

Vc.

Cb.


155

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

3

Susanna 6

My la dy has al rea dy giv en her per

mis sion. 3

Almaviva 3

8

How Figaro

3 3

mar ry your daugh ter. I Vn. II

Va.

Vc.

Cb.

dare she?

3

Flo res tine will mar ry

Bé gearss. He’s the on

ly

man

I


156

62 1

Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Susanna

Almaviva 8

trust.

6

Mind your place!

Don’t be ab surd!

Figaro 6

(1 solo)

But mas ter,

I Vn. II (1 sola)

Va. div. a3

Vc. slow, quarter-tone vibrato 2 soli

Cb.

slow, quarter-tone vibrato

6

6

he on ly pre tends to be your friend.

6

He’s

a

spy

6

for the re vo lu tion ar ies.


157

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth. 3

Harp

3

(Count Almaviva puts his hands over his ears.) Susanna

Almaviva 8

3

3

I don’t

Figaro

be lieve

you!

I

won’t

lis

ten!

6

I caught his

ser vant search ing your room…

read ing your

let

ters.

(1 solo)

I Vn. II (1 sola)

Va.

(div. a3)

Vc. 3

(2 soli)

Cb.

3


158

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Susanna (tratt.)

Almaviva 3

8

This time you’ve gone too far!

I

dis

Figaro

Where

did you get

that

neck lace?

(1 solo)

sul ponticello

(1 sola)

sul ponticello

(div. a3)

sul ponticello

I Vn. II

Va.

Vc. div., sul ponticello (2 soli)

Cb.

miss

you,

Fi

ga

ro.


159

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

(Exit Count Almaviva) Susanna (in time) 3

(tratt.)

3

Almaviva 6

8

Leave at once!

You will

o

bey!

My wife will o bey!

3

I’m

still king

in

this house!

Figaro

ord. (1 sola)

I Vn. II ord. (1 sola)

Va.

ord. (div. 3)

Vc.

ord. (div.)

Cb.

1 solo


160

63 1

Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

l.v. sempre Harp

(crying out after Almaviva, and then to Figaro) 3

Susanna

Louis:

Stubborn! Oh, Figaro, what are we going to do? We’ll starve…

What’s the world com ing to?

Louis

I said the very same words.

(Figaro tapping his head)

Figaro

Not so long as I have my wits.

I Vn. II (1 sola)

Va. (1 solo)

Vc.

Cb.

Mas ter sneaks a round with sto

len


161

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

6

Synth.

6

Piano

Harp

Susanna

jewels; Figaro

I Vn. II

Va.

Vc.

Cb.

our

mis

tress cries

all

day.


162

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

*

Piano

D EFG A

Harp

*

3

Susanna

And

out

side,

Par is has gone

mad:

a

king has lost his

head;

the

Queen

Figaro

I Vn. II (1 sola)

Va.

(div. a3)

Vc. dolce pizz. (div.)

arco

Cb. dolce *Play legato as fast as possible between and including the indicated pitches. Avoid patterns or scales.


163

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

legatissimo Susanna

lan guish

es

in

jail.

I

am

fright ened for sim ple folk like

us.

Louis tenderly Figaro

Su 1 solo

I Vn. II 1 sola

Va.

Vc. 1 solo

Cb.

san

na,

Su

san

na,

at


164 *

= 144

1 Fl. 2

1 Ob. 2

Cl. in B

1

Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 (open)

1

Tbn.

(open)

2

Timp.

1 2 Perc.

B.D.

3

= 72 Synth.

Piano

Harp

(Figaro and Susanna hear the approach of Wilhelm and BĂŠgearss.)

= 72

Susanna

BĂŠg earss and his ser

vant

Wil molto

(offstage) 3

Wilhelm

Ouch!

Ooh!

Argh!

Ow!

= 72 Figaro

least

we have each

oth

er. *

= 144

I Vn. II

Va.

Vc.

Cb. *Do not align Susanna, Figaro, and the Harpsichord (Synthesizer) with Wilhelm and the rest of the Orchestra.

3

3

But who is that com ing?

Yeow!

3

No, No, No, No, No!

helm


165 *

1 Fl.

*

2 *

1 Ob.

*

2 * Cl. in B

1 *

Cl. in A *

1 Bn.

*

2 *

1 Hn. in F

*

2 *

1 Tpt. in C

*

2 *

1 Tbn.

*

2 *

Timp. *

1 *

Perc.

2 *

3

Synth.

*

Piano

*

Harp

(They hide.) 3

Susanna

He’s al ways beat ing him. *

cresc. (coming closer)

Wilhelm 3

Figaro 3

Mi ser able man. *

I Vn.

*

II *

Va. *

Vc. *

Cb. *Repeat until cutoff.

3

Let’s hide

and see what we can learn.

Come, Su

san

na.

(Bégearss and Wilhelm appear.)


166

64

= 144

Faster

= 156

1 Fl.

to Piccolo

2

1 Ob. 2

Cl. in B

1

Clarinet in A Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2 B.D.

3

(brass ensemble)

Synth.

Piano

(Bégearss beats Wilhelm. Wilhelm cringes.) Wilhelm sung

Bègearss: spoken Bégearss 8

3

3

Fool!

= 144

I di ot!

Mo ron!

You

Faster

= 156

tutti

I savage

Vn.

tutti

II savage

tutti

Va. tutti

Vc. savage tutti

Cb. savage

savage

3

3

3

for got when Al ma vi va plans to sell the jewels?


167

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1

to Clarinet in B Cl. in A

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 *

1 Tbn.

*

2

Timp.

1

Perc.

2 B.D.

3

Synth.

Piano

Harp

Wilhelm: spoken

(BĂŠgearss kicks Wilhelm.)

Wilhelm

I read the letter, but then that Figaro came in and scared it out of me! (kick)

(kick)

BĂŠgearss 8

How could you?

I Vn. II

Va.

Vc.

Cb. *Two different pedal tones, brassy.

When?

Where?


168 lunga Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 take straight mute

1 Tbn.

take straight mute

2

Timp. Xyl.

1

Perc.

2

3

Synth.

Piano

Harp

lunga Wilhelm screaming

(hit)

(hit)

(hit)

(hit)

(hit)

lunga

BĂŠgearss 3

8

div.

I Vn. div.

II

div.

Va.

Vc.

Cb.

3

I need

3

to know

3

so

I can ex

pose

3

the plot

3

3

to save

the Queen.

Think,

3

you i

di ot, Think!

3

3

Think!

3

Think!

3

Think! lunga


65

169 a tempo ( = 156)

accel.

Slower Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2 fltg. with straight mute

1 Tpt. in C

with straight mute

fltg.

2

fltg. with straight mute

1 fltg.

Tbn. with straight mute

2

Timp.

1 Ratchet

Perc.

2 B.D.

3

Piano

Harp

Wilhelm 3

Uh…

Uh…

3

I can’t.

3

I’m sor ry.

3

3

3

I’m sor ry I can’t.

3

3

3

3

3

I’m sor ry, I’m sor ry,I’m sor ry, I can’t. screeching 2 Ghosts (from three chattering women):

2 Sop. Ghosts

Think!

a tempo Slower I Vn. II

Va.

Vc.

Cb.

accel.

( = 156)


170 = 156

Piccolo

Picc.

Fl.

1

Ob.

1 2

Cl. in B

1 2

Bn.

1 2

Hn. in F

1 2

1.

fltg.

ord.

1 Tpt. in C

fltg.

2

fltg.

remove mute

1 Tbn.

fltg.

ord.

fltg.

2 Crot.

Xyl.

Crot.

Xyl.

1 (Ratch.)

Perc.

2 T. Blks.

3 3

3 8va

3

Piano

E F B C D

Harp

(Wilhelm growls.) Wilhelm

I

can’t!

Sor

screeching

ry…

S

Ghosts

Think!

Think!

Think!

screeching

S

Think!

Think!

Think! 3

A

I

di

ot

i

di

ot

S Quartet of Ghosts

3

Can’t

3

Hit ’im Hit ’im

Hit

A 3

Sor

ry!

3

Guil

ty

T 8

Hit ’im.

B 3

div.

Sor

3

ry

He

can’t.

= 156 * I * div.

Vn. II

* div.

Va.

0

div. a4

Vc.

Cb. *Very slow quarter-tone oscillations. Each player is asynchronous.

’im


171 rall. poco a poco to Flute

Picc.

Fl.

1

1 Ob. 2

Cl. in B

1 2

Bn.

1 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn.

remove mute

2

Timp. (Crot.)

1 poss.

Perc.

2 (T. Blks.)

3

Piano

loco

Harp

(Beaumarchais offers Marie Antoinette a cushion…) M.A. 3

Shhhhh!

Im

be ciles!

S

Quartet of Ghosts

Sor

3

ry

can’t

Shhh! (giggles)

3

A

Can’t

Shhh! (giggles)

T 3

8

Sor B 3

Sor (div.)

ry.

rall. poco a poco

I (div.)

Vn.

dim. poco a poco

II metá

dim. poco a poco

Va. dim. poco a poco

Vc.

Cb.

ry…


172 (rall.) 1 Fl.

Flute

2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Marie Antoinette smiles at him.) Wilhelm

Forgive me master… I beg you…

What can I do?

Bégearss 8

What can you do? What can you do?…

(rall.) (div.)

I (div.)

Vn. II

(metá)

Va.

Vc.

Cb.

…what you’re good for:


Adagio

= 60–66

66

173

Recitative and Aria

1 Fl. 2

1 Ob. 2 *

1 Cl. in B

*

2 *

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2 open

1 Tbn.

open

2

Timp.

1

Perc.

2 B.D.

3

(contrabass)

Synth.

Piano

Harp

(Bégearss sits.)

(Bégearss smiles malevolently.)

slow, menacing

Bégearss 8

Polish my boots… and keep thinking!…

Adagio

I can’t wait to When they ar rest him, betray Almaviva.

= 60–66

(div.)

I (dim.)

Vn.

(div.)

II (dim.) (metá)

tutti, div. a4 (half-tone cluster, free bows)

Va. (dim.)

tutti sul ponticello

Vc.

sul ponticello

Cb. *Ad lib., chromatic figures slowly rising or falling in pitch to next indicated boxed notes.

3

I’ll make him crawl to me

3

3

3

on his hands and knees like a dog.


174 Adagio *

1 Fl. 2

1 Ob. 2 *

1 Cl. in B

*

2 *

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Bégearss pats Wilhelm’s head.) Bégearss 8

Good boy!

But

I’ll

send him

to

the

scaf

fold

an

y

way!

Adagio I Vn. II gliss.

gliss.

gliss.

Va. (div.)

unis., ord.

Vc. ord.

Cb. *Ad lib., chromatic figures slowly rising or falling in pitch to next indicated boxed notes.


175 Adagio

accel. motion poco a poco

1 Fl. 2

1 Ob. 2 accel. motion poco a poco

1 Cl. in B

accel. motion poco a poco

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Bégearss chuckles.) (Bégearss luaghs) 3

3

Bégearss 8

3

And then!

3

I’ll make the Coun tess my maid.

Yes!! (chuckles) And

if she does n’t like that,

I’ll send her to the cart al

so.

Adagio I Vn. II

Va.

Vc.

Cb.


176

67 1 (fast)

Fl.

molto

2

1 Ob. 2

1 Cl. in B

(fast)

molto

2 (fast)

molto

1 Bn. 2

1 Hn. in F

molto

2 molto

1 Tpt. in C

molto

2 molto

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

molto

(lunga) BĂŠgearss 8

3

And

LĂŠon

will

be

my

page,

as

his

fa

ther

was

to

the

Count.

And

I Vn. II

Va. molto

Vc.

Cb.


177 = 92 1

3

3

3

3

3

3

3

3

3

3

Fl. 2

1

3

3

3

Ob. 2

3

3

1 3

Cl. in B

3

3 3

3

3

3

3

3

3

2

1

3

3

3

Bn.

3 3

3 3

3

2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. 3

3

1

Perc.

2

3 (hns., w.ws., stgs.) 3

Synth.

Piano

Harp

dolce BĂŠgearss 8

Flo res

tine,

my won drous

Flo res

tine,

will be

my

mis tress,

my

wife,

my

slave.

unis.

I 3

3

3

3

3

3

3

div.

Vn.

3

3

3

II

Va. 3

Vc.

Cb.

3

3

3

3

3

3


178

68 1 3

Fl. 2 3

1 3

Ob. 2

3 3

3

slow, even ritard., ignoring conductor

1 3 3

Cl. in B

2

1 3

Bn.

to Contrabassoon

3

2 3

3

1 Hn. in F

3

3

3

3

3

3

3

3

2

1 Tpt. in C

3 3

2

1 3 3

Tbn. 2

Timp.

1

Perc.

2

3 (tutti)

(HARPSICHORD)

3

Synth.

ad lib. patterns on indicated pitches

3

legato, blurred

Piano

l.v. sempre

Harp

ad lib. patterns on indicated pitches

legato, blurred

Florestine: Florestine (We see Florestine as in Bégearss’ imagination. She is elevated, and behind a scrim, dressed in white, radiantly beautiful. She is reading back a letter she has just written. She holds a quill in her hand.)

Come to me my love. Come Continue in time, ignoring conductor

Bégearss 3

8

Flo

res tine will be my

love,

my

love,

my love,

my

love,

my love, my love, my love, my love, my love… Continue in time, ignoring conductor

I Vn.

unis.

II

Va.

Vc.

Cb.

Continue in time, ignoring conductor


179

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

ad lib. patterns on the indicated pitches

legato, blurred

Synth.

Piano

Harp

Florestine

to

I Vn. II

Va.

Vc.

Cb.

me,

my

love.

I

am yours.

Your

mis

tress,

your

wife,

your


180

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 sim.

sub.

Synth.

sim.

Piano

sub.

Harp

(Bégearss rises abruptly and kicks Wilhelm out of the way. The vision fades immediately.) Florestine

slave!

Oh,

Lé on,

Lé on,

Oh Lé on, Lé on,

Ah

Ah

Ah

Bégearss: (imitating Florestine with pitched falsetto singing) shouting Bégearss 8

I Vn. II

Va.

Vc.

Cb.

Lé on?

Lé on?

LÉ ON? Out of my way! Out of my way!

Léon and Florestine?


69

181 Adagio

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

Bn.

1 3

Contrabassoon

to Bassoon

3

Cbn.

1 3

Hn. in F

3

2

1 Tpt. in C 2

1 3

Tbn.

3

2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

poss. Bégearss 8

What about me… Patrick Honoré Bégearss? It’s true: I’m low, base, vile.

ME!

But don’t they know the king of beasts…

Adagio *

I Vn.

*

II 3

*

3

*

3

*

Va.

Vc.

Cb.

*Stand by stand, players change from A to G, ending at the downbeat of rehearsal 70. The change should be legato, non-portamento and asynchronous.

is the


182

70

Aria of the Worm Largo pomposo

= 60

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

1

6

6

6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(WORM SOUND)

(slow phase shift throught aria)

Synth.

Piano

Harp

During the following aria, Wilhelm tries to remember the contents of the letter. Near the end he does remember and tries to signal BĂŠgearss who is too busy singing to notice.) BĂŠgearss 8

worm?

Largo pomposo

= 60

(tutti)

I Vn.

div. 6

6

6

6

6

6

6

II

Va. *

Vc. *

Cb. *As before, continue stand by stand, but in the time value indicated. (Changes will be quicker, and some portamento may be used.)

6

6

6

6

6


183 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

2

1

6

6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

I Vn.

(div.) 6

II

Va.

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


184

71 1 6

Fl.

6

6 6

6

6 6

6

2

1 6

6

6

6

Ob. 6

6

6

6

2 6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

6 6

6

sub.

6

2

1

6

6

6

6

6

Bn.

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2 B.D., deep

3

Synth.

sub.

Piano

Harp

BĂŠgearss 8

Oh,

the

li

on

may

roar

I (div.) 6

Vn.

6

6

6

II div.

Va. 6

Vc. sub.

Cb. sub.

6

6

6

6

6


185

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

6

1 6

Bn.

6

6

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

3

rh,

And the

ea

gle

may

soar,

And

man

may

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


186

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

2

1

6

6

6

6

Bn.

Bassoon

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(brass)

Synth.

Piano

Harp

Bégearss 8

sail

the

dark

est

sea,…

But

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

the


187

72 1 sub.

Fl. 2

sub.

1 Ob. 2 6

6

6

6

6

6

1 Cl. in B

sub.

2 sub.

1 sub.

Bn.

6

6

2 sub.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. sub.

1

Perc.

2

3

Synth.

Piano

Harp

sub. BĂŠgearss 8

wa hurm

lives on

e

ter

nal ly.

Long

live

the

worm.

I Vn.

unis.

div. 6

II (div.)

sub.

Va.

Vc. sub.

Cb. sub.

6

6

6


188

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

6

1 6

Bn.

6

6

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

Bégearss 8

3

3

Cut him in two,

Each part ’ll

re new;

I Vn.

(div.) 6

II

Va.

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


189

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

6

6

6

6

2

1 6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 3

3

8

3

Slice him to bits,

The

3

3

worm

per

sists.

He

still

3

crawls on,

Scales

I Vn.

(div.)

II

Va.

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6

6


190

1

3

2

3

Fl.

1 3

Ob.

3

3

3 3

3

3 3

3

3 3

3

3

3

3

3

2 6

6

1 6

Cl. in B 6

6

6

6

6

6 6

6

3 3 3

6

3

3

3

3

3

3

3

2

1

6

6

6

6

3

3

3

3

3

3

3

3

3

3

Bn. 2 3

3

3

3

3

3

3

3

3

1 Hn. in F 2

1 Tpt. in C

3

3

3

3

2 3

1 3

Tbn. 3

3 3

3

2

Timp. 3

3

3

3

1

Perc.

2

3

(woodwinds)

(+brass)

(W.W. + BRASS)

Synth.

Piano

Harp

BĂŠgearss 3

3

8

walls

on,sheerwill

3

and

3

Bur rows

burn ing

sand.

I (div.) 6

Vn.

6

6

6

II 6

Va.

Vc.

Cb.

6

6

6

(d)


191

(optional)

VI-

73

1 Fl. 2

1 Ob. 2

6

6

6

6

6

6

1 Cl. in B

2

1 sub.

Bn.

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 (WORM SOUND)

Synth.

Piano

Harp

BĂŠgearss 8

Long

live

the

worm.

VI-

non div.

I

Vn.

non div. div.

II non div.

sub. div.

6

6

6

6

6

6

6

6

div.

Va. sub.

Vc. sub.

Cb. sub.


192

1 Fl.

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2 6

6

6

6

1 6

Ob.

6

2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

1

6

6

6

6

6

6

6

6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

3

3

Bégearss 8

He tra vels on

by

The

poor

man’s

sty,

I Vn.

(div.)

II (div.)

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Va.

Vc.

Cb.


193

1

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Fl. 2

1

6

6

6

6

6

6

6

6

6

6

6

6

Ob. 2 6

6

6

6

6

6

6

6

6

6

6 6

6

6

6

6 6

6

1 Cl. in B

6

6

2

1 6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

3

3

Gro vel ing past

the

roy

al

pa

lace,

And

en

ters the

I (div.)

Vn. II

(div.)

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Va.

Vc.

Cb.


194

-DE 1

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Fl. 2

1

6

6

6

6

6

6

6

6

6

6

Ob. 2 6

6

6

6

1 Cl. in B 6

6

6

6

6

6

2

1

6

6

6

6

6

6

6

6

6

6

Bn. 2

6

6

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 3 8

cof

fin

Of

the

red

haired

dau

6

div.

phin.

6

6

Long

-DE

6

I 6

6

6

6

6

6

(div.)

Vn. II

6

6

6

6

6

6

6

6

6

6

6

6

(div.)

Va.

Vc.

Cb.

live

the


195

74 1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

6

1 6

Bn.

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. Wind machine (thunder), ad lib.

1

Perc.

2

3

(wind effect, ad lib.)

(WORM SOUND)

Synth.

Piano

Harp

BĂŠgearss 8

worm.

The

(div.)

unis.

(div.)

unis.

wind

whis

tles.

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


196

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

6

6

1 6

Bn.

6

6

6

6

6

6

6

2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 3

8

And the

3

storm

bris tles.

And

I Vn. II

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


197

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

2

1 6

Bn.

6

6

6

6

6

2

1 Hn. in F

molto legato

2

1 Tpt. in C 2

1 Tbn.

quasi gliss.

2 molto legato

Timp. (Wind Machine)

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 3

8

mud

cov

ers

the ground.

The div.

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


198

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

2

6

6

6

1 6

Bn.

6

6

6

6

6

6

6

6

2

1 Hn. in F 2 molto legato

1 Tpt. in C 2 quasi gliss.

1 molto legato

Tbn. 2

Timp. (Wind Machine)

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

worm

3

wan

3

ders

round

and

round

Morn

ing

and

night,

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6


199 6

6

6

6

6

6

6

6

6

6

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

6

1 Cl. in B

6

6

6

2

1 Bn. 2

1 Hn. in F

legato

2

1 Tpt. in C

molto legato

2 molto legato

1 Tbn. 2

Timp. (Wind Machine)

1

Perc.

2

3

Synth.

Piano

Harp

3

3

BĂŠgearss 8

3

Hid den from

sight,

Ov

er

moun

tain

and

shore,

unis.

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


200 6

6

1 6

Fl.

6

6

2

1 Ob. 2 6

6

6

6

6

6

6

6

1 Cl. in B

6

6

6

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. (Wind Machine)

1

Perc.

2

3

Synth.

Piano

Harp

5

BĂŠgearss 8

3

Want

ing

more

and

more,

De vour ing

I Vn. II (div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6


201 stringendo 6

6

6

6

6

6

1 cresc.

Fl. 2

1 cresc., molto legato

Ob. 2

cresc., molto legato 6

6

6

6

6

6

6

6

1 Cl. in B

cresc. 6

6

2 cresc.

cresc.

1 cresc.

Bn. 2

cresc.

1 Hn. in F 2

1 Tpt. in C 2

1 cresc.

Tbn. 2 cresc.

Timp. (Wind Machine)

1

Perc.

2

3

Synth.

cresc.

Piano

Harp

BĂŠgearss 8

3

ci

3

ty

and

plain,

En

dur

ing

snow

and

stringendo I cresc.

Vn. II

cresc. (div.)

Va. cresc.

Vc. cresc.

Cb. cresc.

6

6

6

6

6

6

6

6


202

75

Slightly Faster rall. poco a poco

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Hn. in F

3

3

2

1 3

Tpt. in C

3

2

1

3

3

3

3

3

3

Tbn. 2 3

Timp.

1

Perc.

2

3 (THUNDER)

Synth.

Piano

Harp

BĂŠgearss 8

rain.

Long

live

the

worm!

Slightly Faster

rall. poco a poco

I Vn.

div.

non div.

(non div.)

(non div.)

II (div.)

Va. div. a2

Vc. div.

Cb.


203

76 Tempo I

(rall.)

= 60

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

6

1 Cl. in B

2

1

6

6

3

3

6

6

6

6

Bn. 2

3

3

3

3

3

3

3

3

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(WORM SOUND)

Synth.

Piano

Harp

BĂŠgearss 8

Oh,

(rall.)

Tempo I

the

li

on

dies,

= 60

I Vn. II (div.)

Va. 6

(div.)

unis.

(div.)

unis.

Vc.

Cb.

6

6

6

6

6

6

6


204

1 Fl. 2

1 Ob. 2 6

6

6

6

6

6

6

6

6

1

6

Cl. in B 6

2

6

6

6

6

6

6

6 6

1

6

6

6

6

6

6

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Bégearss 8

3

The

ea

gle

3

dies,

And man…

man

I div.

Vn. II

6

unis.

(div.)

Va. 6

Vc.

Cb.

6

6

6

6

6

6

6

6

6

6

6


205 stringendo 1

6

6

6

6

6

6

6

6

6

6

6

6

Fl. 2

1 6

6

6

6

6

6

6

6

Ob. 2

1 Cl. in B

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

2

1

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Bn. 2

6

6

6

6

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

BĂŠgearss 8

dies,

man

dies,

man

dies,

stringendo I (div.)

Vn. II

6

6

6

non div. 6

6

6

6

6

6

non div.

6 6

non div. 6

6

6

Va. 6

6 6

Vc.

Cb.

6

6

6


206 (a tempo) 1 sub.

Fl. 2 sub.

1 3

Ob. 2

3

1 Cl. in B

sub.

3

sub.

3

2

1 3

Bn. 2

3 3

1 Hn. in F

3

2

1 Tpt. in C

3

2 3

1 3

Tbn. 2

3

Timp.

1

Perc.

2

3

(w.w., brass)

Synth.

Harp

ossia:

8

dies, dies, quasi cadenza

sub.

(maniacal laughter)

BĂŠgearss 3

8

But the wa hurm lives on

(a tempo)

e

ter

nal ly.

Long

live

the

worm!

div. a3 unis.

3

I (div.)

Vn.

sub. unis.

3

II sub.

(non div.)

Va. 3

sub. div. a3

Vc. 3

Cb. 3

sub.

unis.


207

77 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 (HARPSICHORD)

Synth.

Piano

Harp

Wilhelm:

…I remember, Master, I remember! The reception at the Turkish Embassy!

(Susanna and Figaro look alarmed.)

(They grow more and more excited as (Wilhelm grovels at Bégearss’ feet, they realize what Bégearss is planning.) kissing them.)

Thnak you, Master, thank you.

Tonight! Almaviva’s going to sell the jewels tonight to the English Ambassador!

Bégearss 8

Good boy. Good boy. 1 solo, pizz.

1 solo, arco

I Vn. II 1 sola, arco

Va. 3 soli

1.

Vc. 2. 2 soli, div., 1. arco, 2. pizz.

Cb.

3.


208

78 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3 3 3 3 3

Synth. 3 3

3

3

Harp

(Bégearss pets Wilhelm, who starts to look puzzled.) Wilhelm …or was it the Turkish Ambassador at the English Embassy? Susanna 3

We mustwarn thecount. Figaro 3

(1., solo)

3

He’ll nev er be lieveus.

I Vn. II (1., sola)

Va. arco

1 2

pizz.

Vc. 3 2 soli (div.)

(arco)

Cb. pizz.

No, it definitely


209

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. 1 2 3

Perc.

3

3

Synth.

3

3 3

3

Harp

(Bégearss starts to chuckle. This grows to short bursts of laughter.) Wilhelm

was the Turkish Embassy, and the English… or was he Spanish?…

sub.

Susanna 3

What willwe do?

3

All is lost!

Bégearss 8

Enough! I know which one!!

(chuckles, turning into laughter)

Figaro (1., solo)

I Vn. II (1., sola)

Va. (div.) a2

1 2 (pizz.)

Vc. 3 (2 soli, div.)

Cb.

arco

div.


210

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. 1 2 3

Perc.

Synth.

Piano

Harp

(Figaro and Susanna sneak out.) Susanna

BĂŠgearss 8

(laughter)

Figaro

3 3

As long as (1., solo)

I have my

head

I’ll

3

nev er give up!

3

3

Come, Su san na,

I have an i dea!

tutti, non div. 0

I Vn.

tutti, non div.

II

(1., sola)

tutti, non div.

Va. (3 soli, div. a3)

tutti, div. a4

Vc. (2 soli, div.)

tutti, div. a3

Cb. 0


211

79

= 60

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

(optional: with straight mute)

1 Hn. in F

(optional: with straight mute)

2 (optional: with straight mute)

1 Tpt. in C

(optional: with straight mute)

2 (optional: with straight mute)

1 Tbn.

(optional: with straight mute)

2

Timp.

1

Perc.

2

3

(brass)

Synth.

Piano

Harp

possibile BĂŠgearss 3

8

Ha!

3

I

have

him

now!

Now

I

have them

all!

And

= 60 I Vn.

div.

II div.

Va. div.

Vc.

Cb.

Flo

res tine

will


212 Vivace

= 124

1 Fl. 2

1 secco

Ob. 2

secco

1 secco

Cl. in B

2 secco

1 Bn. 2 (open)

1 Hn. in F

secco (open)

2 secco (open)

1 Tpt. in C

(open)

2 (open)

1 secco (open)

Tbn. 2

secco

Timp.

Perc.

1 2 3

Synth.

Harp

shouts

(They exit.)

Bégearss 8

mar

ry me…

…or Dr. Guillotine.

Vivace non div.

I non div.

Vn. II

non div.

Va.

non div.

Vc.

Cb.

= 124

Come, Wilhelm.


a2

Fl.

1 2

Ob.

1 2

Scene 2

213

80 Adagio

= 56

a2

1 dolce

Cl. in B

2

Bn.

1 2

Hn. in F

1 2

take straight mute

take harmon mute

1 Tpt. in C

take harmon mute

2

1 Tbn. 2

Timp. 1 2 3

Perc.

l.v.

l.v.

E

Harp

(freely) Marie Antoinette:

free

M.A.

Poor

Woman with Hat:

Flo res tine.

I

pi

ty her.

She is

so

young.

W. w/ H.

Oh, what a terrible man! (variously, asychronously)

S

Rogue! Villain! Murderer! etc. Opera Quartet

(variously, asychronously)

A

Rogue! Villain! Murderer! etc. (variously, asychronously)

T 8

Rogue! Villain! Murderer! etc. (variously, asychronously)

B

Rogue! Villain! Murderer! etc.

Adagio

= 56

div.

div. a3

1-3

Vn. I

div.

div. a3

4-6 div.

unis.

div.

unis.

1-3 Vn. II 4-6

Va. non div. div. a4

Vc.

Cb.


214 = 60 *

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(slow and free, ignore conductor) M.A.

When

I

first

came

to

France

I

was

on

ly

four

teen. Beaumarchais: (overlapping Marie Antoinette)

Beau.

It was May. There were parades in Lorrain. Remember?

= 60

al sord.

I Vn.

(div.)

con sord.

al sord.

II

mettere sord.

div., con sord.

div. a4

Va. legatissimo

Vc.

Cb. *Do not align with voice.

div. a3

div. a4

div. a3


215

81 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

M.A.

I

re mem ber

I

was lone

ly

I

re mem ber

I

was fright

ened.

(still encouraging, warm)

(boldly)

warmly

Beau. Ribbons in the trees of Compiègne. Remember?

Fireworks at Versailles. Oh, how the people

I 5 soli, div., con sord.

unis.

Vn.

al sord.

II div. a3 al sord.

Va. al sord.

Vc.

Cb.


216

82

= 60 1 3

Fl.

3

2

1 dolce

Ob. 2

1 Cl. in B

2

1 Bn. 2 with straight mute

1 Hn. in F

with straight mute

2

with harmon mute

1 Tpt. in C

with harmon mute

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

slow, free

faster

M.A.

I

was

such

a

home sick

lit

tle girl.

Poor Flores tine.

Don’t let him

mar ry her!

Beau.

Don’t be

= 60 div. via sord.

I Vn.

div. a6

II

Va.

Vc.

Cb.

tutti

via sord.


217

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2 remove mute

1 Tpt. in C 2

1 Tbn. 2

Timp. bend

Vib., bowed

1

Perc.

2 B.D.

3 bend

(white sound)

Synth.

Piano

Harp

Beau.

afraid, Your Majesty, I won’t let that happen. And Almaviva and Figaro will foil Bégearss and bring you to the New World.

…and I’ll be there to amuse you… just the two of us.

Louis: (to Beaumarchais)

Louis

The two of you? This time you go too far! div., senza sord.

I Vn.

div., senza sord.

II

Va.

Vc.

Cb.

1 solo gliss.

I

warned


218

83 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 legato

Bn. 2

legato

1 Hn. in F

legato

2 legato

open

take harmon mute (if time allows)

with harmon mute (if time allows)

1 Tpt. in C

molto open

take harmon mute

2

1 Tbn. 2

Timp.

Perc.

(B.D.)

1 2 3

cresc.

Harp

(Louis’ hand goes to his sword.)

(Marie Antoinette puts her hand over Louis’.) Marie Antoinette:

M.A.

Don’t be absurd! Louis

you.

De fend

your self!

How

dare he! (variously, asynchronously)

S

Opera Quartet

Dare he! Dare he! …Let them (variously, asynchronously)

A

Dare he! Dare he! …Let them (Marie Antoinette makes a disdainful face.)

(variously, asynchronously)

T 8

Dare he! Dare he! …Let them (variously, asynchronously)

B

Dare he! Dare he! …Let them

I Vn. II

Va.

Vc.

Cb.


219 Allegro 1 legatissimo

Fl. 2

legatissimo

1 Ob. 2

1 Cl. in B

legatissimo

2 legatissimo

1 Bn. 2

1 Hn. in F

take straight mute

2 (with harmon mute) take straight mute

1 legato

Tpt. in C

(with harmon mute) take straight mute

2 legato

1 Tbn. 2

Timp.

Perc.

1 2 3 (HARPSICHORD)

Synth.

(to Beaumarchais, silencing the Ghosts)

(Beaumarchais leaps onto (He blows her a kiss.) apron of little stage. He opens (Louis stamps his foot.) the curtains.)

M.A.

Do something, Beaumarchais. Beau.

New scene: They say New York Rosina’s boudoir. is a lively town‌

Louis:

Louis

Af

Opera Quartet

S

fight! A

fight! T 8

fight!

B

fight!

Allegro sul ponticello

I sul ponticello

Vn. II

Va.

Vc.

Cb.

ter

all,

she

is

my wife!


220

84

Scene 3 (Allegro)

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

(The curtain to the little stage rises. We are in Rosina’s boudoir. Beaumarchais leaves the apron.)

(to Almaviva.)

Rosina

For give me,

I

beg you, my

hus

band.

Almaviva 8

There’s no

Bégearss 8

Turn

the oth

(Allegro) I Vn. II

Va.

Vc.

Cb.

er cheek and for give

your

wife.

mer

cy

in

my


221

85 Slightly slower 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Rosina

For give me, my

lord.

Almaviva 8

heart.

I’ll

ne

ver

re

lent.

(aside)

BĂŠgearss 8

For give her, my friend.

His

hat

Slightly slower 1., solo

I Vn. II 1., sola

Va.

3 soli

Vc. 2 soli

Cb.

red

fills me with joy!


222 a tempo

rall.

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(HARPSICHORD)

Synth.

Piano

Harp

(to Almaviva) Rosina

If

you loved

me,

let our child ren mar

ry.

And

for

give

our

son.

(to Rosina)

Almaviva 8

Nei ther!

BĂŠgearss 8

a tempo I Vn. II

Va.

Vc.

Cb.

rall.

Ne ver!


223

86 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Rosina (to BĂŠgearss) 5

5

Almaviva 8

YoulovedChe ru

bi

no!

Now live with your shame.

Come, my friend, let us dis cuss your wed ding plans.

BĂŠgearss 8

(1., solo)

I Vn. II (1., sola)

Va. div. a3 (3 soli)

1.

Vc. 2. (2 soli)

Cb.

1., solo

(1.)


224 = 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Exit Bégearss and Almaviva)

(to herself)

Rosina

That

man

is

a

saint…

but

e

ven he

can’t

Almaviva 8

(to Rosina)

Bégearss 8

I

did

my

best. =

I Vn. II

Va.

Vc.

Cb.


225

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Rosina 5

help

me now.

I

am tru ly

lost.

Oh,

Oh,

Che ru

bi

Almaviva 8

BĂŠgearss 8

I Vn. II

Va. (3 soli, div. a3)

Vc. 1., solo

Cb.

no,

I gave up my

life

for you.


226 Vuota

87 Adagio

= 96–102

=

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F

with straight mute

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

continue ad lib. Rosina 3

Che ru bi no,

3

Che ru bi no,

Che - ru - bi - no…

Che - ru - bi - no…

Che - ru - bi - no…

Che - ru - bi - no…

Che - ru - bi - no… Beaumarchais: (spoken)

Beau.

Adagio

= 96–102

Now we tutti

I Vn.

dolce

II

3 sole

dolce

Va.

tutti, pizz.

Vc. tutti, pizz.

Cb.

1., arco 2., pizz.


227 un poco meno adagio (feel in 2)

3

88

=

1 Fl.

3

3

3

3

3

3

3

3

2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Rosina’s calls slowly change to questions.)

(etc.)

Rosina

Che - ru - bi - no…

Che - ru - bi - no?

Beau.

go back in time, let it be Spain, twenty years before. Let it be Seville,

…the full bloom of spring. 3

= I Vn.

div.

II tutti, div.

unis.

Va.

Vc. 1/2 pizz., 1/2 arco

Cb.

tutti arco


228 =

=

*

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F

(muted)

open

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Rosina’s clothing comes off, and she is twenty years younger dressed as a shepherdess. She puts on a blindfold. Meanwhile, the stage -within-a-stage has expanded to become the Garden of Aguas Frescas, home of the Almaviva family in Spain. We are in a bower. Rosina

Che - ru - bi - no?

Che - ru - bi - no?

Beau.

=

=

I espr. unis.

Vn. II

espr.

Va. arco

Vc.

Cb. *Continue 3/4 feel.

espr.


229

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Cherubino touches Rosina. She removes her blindfold.) free Rosina

Where Cherubino

I Vn.

non div.

II

Va.

Vc. div.

Cb.

are you tak ing me,

young


230

89

Duet Andante

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Rosina

shep herd? dolce Cherubino

Look

at the green here in the glade.

Feel the mild breeze and the scent of wild thyme. Hear the vix en’s shrill cry

and the lamb’s com plaint. We’re in the Gar den of

Andante div.

I Vn.

metà

tutti, div.

II metà

Va.

Vc.

Cb.


231

1 Fl. 2

1 Ob. 2 3

3

3

3

3

3

3

3

3

3

3

3

3

1 Cl. in B

3 3

3

3

3

3

3

3

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(to herself) 3

3

3

Rosina

I’m

not

ac quaint ed with these parts.

I’m lost

in

this land

and fright ened.

Cherubino

Earth ly De lights.

To the

(div.)

I Vn. II 3 sole

Va.

pizz.

Vc. unis., pizz.

Cb.


232

90 1

Fl. 2

1 Ob. 2 3

3

3

3

3

3

3

3

3

3

3

3

1 Cl. in B

2

1 Bn. 2 3

1 Hn. in F

3

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(bassoons + cb.)

Synth.

Piano

Harp

3

3

Rosina 3

3

My soul

is

closed

to sweet plea sures.

Cherubino

north

is

the Vil lage of Shy

Glanc

es.

To

the east

(div.)

I Vn.

unis.

metà

II metà

Va.

Vc. div., arco

Cb.

is the Grove of Ten der


233

1 Fl. 2

1 Ob. 2 3

3

3

3

3

3

3

3

3

3

3

3

1 Cl. in B

2

1 Bn. 3

2 3

1 Hn. in F

3

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

(bassoons)

Synth.

3

Piano

Harp

Rosina 3

3

Rage,

bit ter ness,

3

and

hate

con sume

me.

Cherubino

Touch

ing.

To

the west

is

the

Riv

er

of

(div.)

I Vn.

(metĂ )

tutti, div.

II (metĂ )

Va. 3

arco

Vc. 3

Cb.

unis.


234

91 1

Fl. 2

1 3

Ob. 2

3 3

3

3

3

3

3

3

3

3

1 Cl. in B

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

2

1 Bn.

3

2

3

1 Hn. in F

3

3

2 sub. with straight mute

1 3

Tpt. in C

3

with straight mute

2 (open)

1 3

Tbn.

(open)

2 3 3

Timp.

Perc.

1 2 3

Synth. 3

Piano

3

3

Harp

3

(non arp.)

3

3

sub. Rosina 3

3

Oh,

Che ru bi no, take

3

me home.

I

am

un

wor

thy

of

pa

ra

dise.

Cherubino

Sighs.

And

(div.)

I Vn.

(div.)

II 3

Va. 3

Vc.

3

Cb.

div.

tutti

south, past the arch

ing


235

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Rosina

Cherubino

wil

low,

is

the

Tem

(div.)

unis.

(div.)

unis.

I Vn. II

Va.

Vc.

Cb.

ple

of

Love.


236

92 (Andante) 1

Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(Rosina turns toward Cherubino and relents, at last won over.) Rosina

Cherubino

Come now, my dar

ling,

come with me,

Come

to the room

I have made for thee.

Let us strew the bed

(Andante) I Vn. II

Va.

Vc. div., half pizz., half arco

Cb.

unis, arco

with flow ers,

There


237 poco rall. 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(In the audience, Beaumarchais moves closer to Marie Antoinette, who is listening entranced to Rosina. Louis grows uncomfortable as Beaumarchais and Marie Antoinette become more intimate.) Rosina

Cherubino

we will spend the

hours.

There

we will spend the

hours.

There

we will spend the

hours.

poco rall. I Vn. II

Va.

Vc.

Cb.


238

93 a tempo 1

Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

dolce Rosina

Yes,

yes,

my dar

ling, I’ll come with thee,

Come

to the room

that is

made

for me.

Let us strew the bed

Cherubino

Come

a tempo I Vn. II

Va.

Vc.

Cb.

now,

my dar

ling,

come with me,

Come

to the room

I have made for thee.

with


239

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Rosina

flo

wers,

There

we

will spend the

hours.

There

we

will spend the

hours.

hours.

There

we

will spend the

hours.

Cherubino

Let us strew the bed

I Vn. II

Va.

Vc.

Cb.

with flo

wers,

spend

the


240

94 3

= 1 Fl.

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3 3

2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Rosina

There

we

will spend the

hours.

There

we

will spend the

hours.

There

we

will

spend

the

There

we

will

spend

the

Cherubino

3

= I Vn. II

Va.

Vc.

Cb.


241 = 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Rosina

hours.

We

will

spend

the

hours.

There

we

will

spend

the

hours.

We

will

spend

the

hours.

There

we

will

spend

the

Cherubino

= I Vn. II

Va.

Vc.

Cb.


242

95 =

Quartet

=

(

= )

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3

Synth.

Piano

Harp

Rosina

hours

the

hours

hours

the

hours

Cherubino

(

= )

M.A. Beaumarchais: (to Marie Antoinette) Beau.

Look =

(

at the green here

= )

in

( = )

I Vn. II div.

Va. dolce pizz.

div., arco

dolce

Vc. pizz.

Cb.

(

=

)

(

= )

the glade.


243

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3

Synth.

Piano

Harp

Rosina

Though

hours

pass

swift

ly,

Love

is

e

ter

nal.

Though

hours

pass

swift

ly,

Love

is

e

ter

nal.

Cherubino

M.A.

Beau.

Feel

the mild breeze and the scent of wild thyme. Hear the vix en’s shrill cry

and the lamb’s com plaint.

We’re in the Gar

den of Earth ly De lights.

To the

I Vn.

div.

II (div.)

metà

Va. (div.)

Vc.

Cb.

unis.

div.


244

96

=

=

1 Fl. 2

1 Ob. 2 3

3

3

3

3

3

3

3

3

3

3

3

1 Cl. in B

2

1 Bn. 2

3

1 Hn. in F

3

2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3

(bassoons)

Synth.

Harp

Rosina

Cherubino Marie Antoinette:

3

3

M.A. 3

3

My

soul

is

closed

to sweet plea sures.

Beau.

north

is

the Vil lage of Shy

Glan

ces.

To

div.

I (div.)

Vn.

metá

II (metà)

Va. (div.)

Vc. div., arco

Cb.

the east

is

the Grove of Ten der


245

97 1 Fl. 2

1 3

Ob. 2

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

1 Cl. in B

2

1 Bn.

3

2 3

3

3

3

1 Hn. in F 2 (with straight mute)

1 3

(with straight mute)

Tpt. in C

3

2 (open)

1 3

Tbn.

(open)

2 3 3

Timp.

Perc.

1 2 3

Synth. 3

3

Harp

3

3

Rosina

Cherubino sub. M.A. 3

Rage,

3

bit ter ness,

and

hate

3

3

con sume

me.

3

Oh,

Beau.

Touch

ing.

To

the west

is

the Ri ver

of

Sighs.

(div.)

I Vn.

(metĂ )

tutti, div.

II (metĂ )

Va.

(div.)

unis. 3

Vc. 3

Cb.

3

Beau mar chais,


246

1 Fl. 2

1 Ob. 2 3

3

3

1 Cl. in B

3

3

3

3

3

3

3

3

3

3

3

3

3

3

2

1 Bn. 2

1 Hn. in F

3

2 sub.

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3

Synth.

3

3

3

Harp

(to Cherubino) legato Rosina

The

birds

are

(to Rosina) legato Cherubino

The 3

3

M.A. 3

let

me be.

I

am un wor thy

of pa ra

dise.

Beau.

And (div.)

I Vn. unis.

II tutte

Va.

Vc.

div.

Cb.

3

south,past the arch ing

wil low,

is the Tem unis.

ple of Love.

birds

are


247

98 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. 1

Perc.

2

3

Synth.

Harp

(Marie Antoinette slowly turns towards Beaumarchais. She is at last won over.) Rosina

hushed.

Your

cheeks

are

flushed.

The

earth

is

sweet

andsoft,

hushed.

Your

cheeks

are

flushed.

The

earth

is

sweet

andsoft,

Cherubino

M.A. dolce Beau.

Come

now

my dar

ling,

come with me,

Come

to the room

I have made

for thee.

Let us strew the bed

I Vn. II

Va.

Vc. div., half pizz., half arco

Cb.

(pizz.)

tutti, unis., arco

with


248 poco rall. 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Rosina

Cool

andsafe.

There

Cool

andsafe.

There

we

will

spend

the

hours.

We willspend

the

will

spend

the

hours.

We willspend

the

Cherubino

we

M.A.

Beau.

flow

ers,

there

we

will spend the

hours.

There

we

will spend the

hours.

poco rall. I Vn. II

Va.

Vc.

Cb.


249

99 a tempo 1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

Rosina

hours.

The

hours.

The

hours.

The

earth

is

sweet

andsoft,

The

earth

is

sweet

and soft,

Cherubino

hours.

(to Beaumarchais) dolce M.A.

Yes,

yes

my dar

ling, I’ll come with thee.

Come

to the room

that is

made

for me.

Let us strew the bed

Beau.

Come,

a tempo I Vn. II

Va.

Vc.

Cb.

now

my dar

ling.

Come withme.

Come

to the room

I have made

for thee.

with


250

1 Fl. 2

1 cresc.

Ob. 2

1 Cl. in B

cresc.

2 cresc.

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

cresc. Rosina

Cool

and safe.

There

we’ll

spend

the

hours.

There

we

will spend the

we

will spend the

cresc. Cherubino

Cool

and safe.

There

we’ll

spend

the

hours.

There cresc.

M.A.

flow

ers.

There

we

will spend

the

hours.

There

we

will spend the

hours. cresc.

Beau.

Let us strewthe bed

with flow

ers

spend

the

hours.

There

we

will spend the

hours,

I Vn. II

Va. cresc.

Vc. cresc.

Cb.

the


251 più mosso

rall.

1 Fl. 2

1 Ob. 2

1 Cl. in B

2

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3

Synth.

Harp

pesante Rosina

hours.

Let us strew the bed

with

flow

ers

and spend the hours.

pesante Cherubino

hours.

Let us strewthe bed

with flow

ers

with flow’rs

spend the hours.

pesante M.A.

Let us strew the bed

with flow’rs

and

spend the hours.

pesante Beau.

hours.

Let us strew the bed

with flow’rs

with flow’rs

più mosso

rall.

I Vn. II

Va.

Vc. pizz.

Cb.

spend the hours.

arco


252

100 a tempo 1

Fl. 2

1 Ob. 2

1 Cl. in B

2

1 espr.

Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

1 2 Trg.

Perc. 3

Synth.

Harp

(Rosina and Cherubino kiss. Louis reacts to this kiss and moves near Beaumarchais and Marie Antoinette. at the moment they are supposed to kiss, he places his sword between their lips and says “No.”.) Rosina

There wewill spend the

hours.

There wewill spend the hours. (Kiss)

There

we’ll

spend

the

hours.

There wewill spend the

hours.

There wewill spend the hours. (Kiss)

There

we’ll

spend

the

hours.

Cherubino

M.A.

There

We’ll

spend

the

hours.

There we will spend the

hours.

There we will spend the hours. Louis:

but with intensity

Louis

No. Beau.

There

We’ll

spend

the

hours.

a tempo I Vn. II

Va. div.

Vc. pizz.

Cb.

arco

There we will spend the

hours.

There we will spend the hours.


101

253

Scene 4

1 Fl.

to Piccolo

2

1 Ob. 2

1 Cl. in B

legatissimo

2 legatissimo

1 legatissimo

Bn. 2 legatissimo

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

1 2 3

(clarinets and bassoons)

Synth.

legatissimo

Piano

Harp

The image on the little stage fades to black.)

M.A.

(growing more and more excited)

(to Ghosts)

(to Beaumarchais, brandishing his sword)

Louis

I’ve had enough. I see what’s happening here. You He wants to steal my wife. want to steal my wife.

You’ve written an opera to steal my wife.

Beau.

I’ve written an opera to amuse Antonia.

I Vn. II

Va. al sord.

Vc.

Cb.


254

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

1 Bn.

to Contrabassoon

2

1 Hn. in F 2 (with straight mute)

1 Tpt. in C

with straight mute

2

1 Tbn. 2

Timp. 1 2 3

Perc.

Synth.

Piano

Harp

Woman with Hat: (to Marie Antoinette)

(Beaumarchais draws his sword.)

W. w. H.

How exciting! He’s going to fight over her. M.A.

Louis

Antonia! Now it’s Antonia! Have your arrogance and presumption no limits?

En garde, Beaumarchais.

Defend yourself, if you are a man!

Beau.

With pleasure! sul ponticello

I Vn.

sul ponticello

II

sul ponticello

Va.

Vc.

Cb.


102

Dueling Song Vivace

= 144–156

255

Picc. *

Fl.

1 *

legatissimo

1 Ob.

legatissimo

2 *

1 Cl. in B

legatissimo

2

Bn.

1 Contrabassoon, solo

Cbn.

1 Hn. in F 2 1.

Tpt. in C

1 2 take straight mute

1 Tbn. 2

Timp. Vib., bowed

1 Crot., bowed

Perc.

2

3 (WHITE SOUND)

Synth.

sempre

Piano

Harp

(Louis and Beaumarchais duel. They are both fine swordsmen, but Louis’ skills are hampered by excessive posing.) (The dueling starts slowly.) (3 Chattering Women, Woman with Hat, Marie Antoinette, The Marquis, Louis, and Beaumarchais ad lib. appropriate comments.) **

Quartet of Ghosts

S will

cut

you

in

to

pie

ces.

will

cut

you

in

to

pie

ces.

will

cut

you

in

to

pie

ces.

A

T 8

B

Vivace

= 144–156

He

1 solo, con sord. *

I Vn.

al sord.legatissimo

II 1 sola, con sord. *

Va. legatissimo

Vc. 1 solo

Cb. *Finger 16th notes, but do not play. Occasionally, ad lib., play. Begin niente, crescendo to pianissimo, and decrescendo back to niente. Play legatissimo and only in ranges in which dynamics may be be controlled. Do not enter or exit on strong beats. Vary the lengths of passages. **Voices may need discreet amplification.


256

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

solo

2

Tpt. in C

1 2

1 Tbn. 2

Timp. (Vib.)

1 (Crot.)

Perc.

2

3

Synth.

Piano

Quartet of Ghosts

S

will

slice

you

for

the

pot.

There’s

a

no

ther of

his

ca

pri

ces.

will

slice

you

for

the

pot.

There’s

a

no

ther of

his

ca

pri

ces.

will

slice

you

for

the

pot.

A

T 8

B

He Vn. I solo div., con sord.

Vn. I gli altri metá, con sord.

Vn. II

Va.

Vc. (1 solo)

Cb.

tutti, div., con sord.


257

103

Piccolo

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

*

2 *

Bn.

1

Cbn. * with straight mute

1 Hn. in F

(open)

2 * (with straight mute)

1 Tpt. in C

(with straight mute)

2 with straight mute

1 Tbn. 2

1 2 3

Perc.

Synth.

**

Piano

(Louis drops his sword.)

Marie Antoinette:

(He regains it.)

M.A.

Watch out, Louis!

Quartet of Ghosts

S

will

feed

him

to

the

dogs.

will

feed

him

to

the

dogs.

will

feed

him

to

the

dogs.

A

T 8

B

That’s

how

men

do

the

ga

votte.

He

Vn. I solo

Vn. I gli altri

1-2 Vn. II

(div.)

3-4 5-6

Va. sola div., con sord.

Va. gle altre * 1 solo, con sord.

Vc.

Cb. *Finger 16th notes, but do not play. Occasionally, ad lib., play. Begin niente, crescendo to pianissimo, and decrescendo back to niente. **Left hand optional (do not play).


258 Picc.

Fl.

1

Ob.

1 2

(1.)

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2 1.

Tbn.

1 2

Perc.

1 2 3

2. (open)

Synth.

Piano

Chattering Women

S

Loo

ee

Loo

ee oo ee oo ee oo ee oo ee oo ee oo ee

A

ooo

eee

ooeeooeeooee ooeeoo

ooo

eee

ooeeooeeooee ooeeoo

A

Quartet of Ghosts

S

not

good

e

nough

for

hogs.

He’s

con sumed

by

a

rag

ing

fire.

not

good

e

nough

for

hogs.

He’s

con sumed

by

a

rag

ing

fire.

not

good

e

nough

for

hogs.

He’s

con sumed

by

a

rag

ing

fire.

He’s

con sumed

by

a

rag

ing

A

T 8

B

He’s Vn. I solo div. a3 Vn. I gli altri

1-2 Vn. II

(div.)

3-4 5-6

Va. sola (div.)

Va. gle altre

Vc. solo Vc. gli altri

Cb.

fire.


259

104 Picc.

Fl.

1

Ob.

1 2

(1.)

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

with hand

2

1 Tpt. in C 2 open

1 Tbn. 2

Perc.

1 2 3

Synth.

Beaumarchais: (shouts while dueling) Beau.

Chattering Women

Do you love me, Antonia? S

A

A

Quartet of Ghosts

S

will

stop

him.

will

chop

him.

will

stop

him.

will

chop

him.

will

stop

him.

will

chop

him.

A

T 8

B

Thrust

Vn. I solo (div. a3)

Vn. I gli altri (1., 2.)

Vn. II (1 sola)

Va. (1 solo)

Vc.

Cb.

it

deep

er,

get

him,

sire‌

He

He


260

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

Tbn.

1 2

Perc.

1 2 3

Synth.

Piano

Chattering Women

Continue ooo–eee, but add “Antonia,” first with pure vowels, gradually changing to very nasal intonation. Ad lib, do not synchronize.

S Continue ooo–eee, but add “Antonia,” first with pure vowels, gradually changing to very nasal intonation. Ad lib, do not synchronize.

A Continue ooo–eee, but add “Antonia,” first with pure vowels, gradually changing to very nasal intonation. Ad lib, do not synchronize.

A

Quartet of Ghosts

S

will

cut

you

in

to

pie

ces.

will

slice

you

for

the

pot.

will

cut

you

in

to

pie

ces.

will

slice

you

for

the

pot.

will

cut

you

in

to

pie

ces.

will

slice

you

for

the

pot.

A

T 8

B

He

He

Vn. I solo (div. a3 Vn. I gli altri (1., 2.)

2 stands

1 stand 1., 2.

Vn. II 3.–6. (1 sola)

Va. sola div. a2

Va. gle altre (1 solo)

Vc.

Cb.

liquid

div. a4

div. a3


261

105 Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2 1.

Tbn.

1 2

Perc.

1 2 3

1., Xyl.

Synth.

Piano

Chattering Women

cresc. poco a poco

S cresc. poco a poco

A cresc. poco a poco

A cresc. poco a poco

S Quartet of Ghosts

There’s

an oth er of

his

ca

pri

ces.

will

him

to

the

dogs.

cresc. poco a poco

A

There’s

an oth er of

his

ca

pri

ces.

will

feed

him

to

the

dogs.

cresc. poco a poco

T 8

will

B

That’s how

men

do

the

ga

votte.

He

Vn. I solo (2 stands) via sord. Vn. I gli altri

(1 stand) metá, div.

(1., 2.)

Vn. II (3.–6.)

Va. sola (div. a3)

div. a4

div. a2

Va. gle altre (1 solo)

Vc. tutti, arco

Cb.

feed

div. a3

feed

him

to

the

dogs.


262 accel. Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Synth.

Chattering Women

Piano

S A A cresc.

Quartet of Ghosts

S

not good e nough for

hogs.

He’s

con sumedby a rag ing

fire.

will stop him.

will chop him.

cresc.

A

not good e nough for

hogs.

He’s

con sumedby a rag ing

fire.

will stop him.

will chop him.

not good e nough for

hogs.

He’s

con sumedby a rag ing

fire.

will stop him.

will chop him.

He’s

con sumedby a rag ing fire.

cresc.

T 8

B

He’s

Thrust it

deep er,

get him,

sire.

He

He

accel. Vn. I solo tutti, div. a4 Vn. I gli altri (metá, div.)

via sord.

tutti, div., senza sord.

Vn. II

Va. sola (div. a3)

Va. gle altre (1 solo)

Vc.

Cb.

via sord.

senza sord.


263

Vuota Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F 2 remove mute

1 Tpt. in C

remove mute

2

1 Tbn. 2

Timp.

Perc.

1 2 3

Synth.

Piano

C.W.

(Louis runs Beaumarchais through with his sword. Marie Antoinette shrieks in horror, while Louis walks off in triumph. After a moment, calmly, painlessly and slowly, Beaumarchais pulls the sword out of himself and, kneeling in mock respect, returns the sword to Louis.) S A A

Quartet of Ghosts

S

will stop him.

will chop him.

Stop him, chop him,

chop him, stop him, chop him.

will stop him.

will chop him.

Stop him, chop him,

chop him, stop him, chop him.

will stop him.

will chop him.

Stop him, chop him,

chop him, stop him, chop him.

Stop him, chop him,

chop him, stop him, chop him.

A

T 8

B

He Vn. I solo (div. a4) Vn. I gli altri (cresc.) (div.)

Vn. II (cresc.)

Va. sola (div.)

Va. gle altre (cresc.)

Vc.

Cb.

He

Vuota


264

106 Vivace

Vuota

= 144–156

Picc. *

Fl.

1 *

1 Ob. 2 *

1 Cl. in B

*

2 *

Bn.

1

Cbn. *

1 Hn. in F 2 open

*

1 Tpt. in C

open

2

Timp. 1., Xyl.

Perc.

1 *

(WHITE SOUND)

Synth.

sempre

Piano

(Beaumarchais gleefully runs Louis through. The King finally joins the laughter; everyone is laughing, singing, and running each other up to rehearsal 108.

(laughing) M.A.

We’re dead.(laughing)

We’re dead!

Beau.

Chattering Women

You forgot your sword, you Majesty. She’s laughing.

You’re laughing!

(joining in on the laughter)

S

will

cut you

in

to

pie ces.

will slice you

for

the pot.

will

cut you

in

to

pie ces.

will slice you

for

the pot.

will

cut you

in

to

pie ces.

will slice you

for

the pot.

will

cut you

in

to

pie ces.

will slice you

for

the pot.

will

cut you

in

to

pie ces.

will slice you

for

the pot.

(joining in on the laughter)

A A (joining in on the laughter)

Quartet of Ghosts

S (joining in on the laughter)

A (joining in on the laughter)

T 8

(joining in on the laughter)

B

Vuota

He senza sord. *

Vivace

Vn. I solo div. a2

Vn. I gli altri (div.)

Vn. II 1 sola, senza sord.

*

Va. 1 solo, senza sord.

*

Vc. 1 solo

Cb. *As before, crescendo from niente to mezzo-forte and then back to niente, to sound more hysterical. Oboe 1 and Clarinet 1 continue to play 16th note figures between accented pitches whenever possible.

= 144–156

He


265

Picc.

Fl.

1

Ob.

1 2

1.

1.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

solo

2

1 Tpt. in C 2 1.

2.

1 2

Tbn.

Timp. Xyl.

1

Perc.

Synth.

Chattering Women

Piano

S

There’s

an oth er of

his

ca

pri

ces.

will

feed

him

to

the

dogs.

There’s

an oth er of

his

ca

pri

ces.

will

feed

him

to

the

dogs.

There’s

an oth er of

his

ca

pri

ces.

will

feed

him

to

the

dogs.

There’s

an oth er of

his

ca

pri

ces.

will

feed

him

to

the

dogs.

will

feed

him

to

the

dogs.

a2

A1 A2

Quartet of Ghosts

S

A

T 8

B

That’s how

men

do

the

ga

votte.

He

Vn. I solo (div.) Vn. I gli altri (div.) Vn. II

Va. sola div. a3

Va. gle altre

Vc. solo div.

Vc. gli altri tutti

Cb.


266

107

accel. al fine to Flute

Picc.

Fl.

1

1 Ob. 2

1 Cl. in B

2

Bn.

1 to Bassoon

Cbn.

1 Hn. in F

brassy

2 brassy

1

Tpt. in C

2

1 Tbn. 2

Timp.

Synth.

Piano

Chattering Women

Harp

S a2

not

good

e

nough

for

hogs.

He’s

con sumedby a rag

ing

fire,

will

cut

you

not

good

e

nough

for

hogs.

He’s

con sumedby a rag

ing

fire,

will

cut

you

not

good

e

nough

for

hogs.

He’s

con sumedby a rag

ing

fire,

will

cut

you

not

good

e

nough

for

hogs.

He’s

con sumedby a rag

ing

fire,

will

cut

you

not

good

e

nough

for

hogs.

He’s

con sumedby a rag

ing

fire,

will

cut

you

He’s

con sumedby a rag

ing

A1 A2

Quartet of Ghosts

S

A

T 8

Thrust

it

high

er.

B

He’s

accel. al fine

fire,

He

Vn. I solo (div.)

slow gliss. and oscillation

(div.)

slow gliss. and oscillation

Vn. I gli altri marc. Vn. II marc.

Va. sola unis.

Va. gle altre Vc. solo Vc. gli altri

Cb.

unis.


267

Fl.

1

1 Ob. 2

1 Cl. in B

2 1.

Bn.

1 2

Hn. in F

1 2

a2

1 Tpt. in C 2 2.

Tbn.

1 2

Perc.

1

Xyl.

Synth.

Chattering Women

Harp

S

in

to

pie ces.

will slice you

will cut you

in

to

pie ces

will slice you for the pot.

There’s

an other of

his

ca

pri ces.

in

to

pie ces.

will slice you

will cut you

in

to

pie ces

will slice you for the pot.

There’s

an other of

his

ca

pri ces.

in

to

pie ces.

will slice you

will cut you

in

to

pie ces

will slice you for the pot.

There’s

an other of

his

ca

pri ces.

in

to

pie ces.

will slice you

will cut you

in

to

pie ces

will slice you for the pot.

There’s

an other of

his

ca

pri ces.

in

to

pie ces.

will slice you

will cut you

in

to

pie ces

will slice you for the pot.

There’s

an other of

his

ca

pri ces.

in

to

pie ces.

will slice you

will cut you

in

to

pie ces

will slice you for the pot.

There’s

an other of

A

A

Quartet of Ghosts

S

A

T 8

B

He

Vn. I solo

Vn. I gli altri

Vn. II

Va. sola

Va. gle altre

Vc. solo

Vc. gli altri

Cb.

He

He


268 accel. molto 1 Fl.

Flute

2 1.

1 2

Ob.

1 Cl. in B 2

1 Bn. 2 a2

Hn. in F

1 2

1 Tpt. in C 2 1.

2.

1 2

Tbn.

Tamb.

Timp. Xyl.

1 Ten. Dr.

S.D. (rim shot)

Perc.

2 Ratchet

3

Synth.

Piano

S There’s an otherof

There’s

an oth erof

his

ca

pri ces, his

ca pri ces,

his

ca

pri ces,

his

ca

pri ces.

There’s an otherof

There’s

an oth erof

his

ca

pri ces, his

ca pri ces,

his

ca

pri ces,

his

ca

pri ces.

There’s an otherof

There’s

an oth erof

his

ca

pri ces, his

ca pri ces,

his

ca

pri ces,

his

ca

pri ces.

There’s an otherof

There’s

an oth erof

his

ca

pri ces, his

ca pri ces,

his

ca

pri ces,

his

ca

pri ces.

There’s an otherof

There’s

an oth erof

his

ca

pri ces, his

ca pri ces,

his

ca

pri ces,

his

ca

pri ces.

his

ca

pri ces, his

ca

his

ca

pri ces,

his

ca

pri ces.

A1 A2

Quartet of Ghosts

Chattering Women

Harp

S

A

T 8

B That’s how men do…

That’s how men.

accel. molto

pri ces,

Vn. I solo Vn. I gli altri

molto

Vn. II molto

Va. sola

Va. gle altre

molto

Vc. solo Vc. gli altri

molto


108

269

Scene 5, Finale

1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1

Bn.

to Contrabassoon Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

= ca. 60 cue: Scimitars on little stage Timpani (hit and hold)

(hold in place)

Timp. B.D., left hand with standard Bass Drum beater, right hand with bunch of cane beaters r.h. r.h. l.h. l.h. l.h. sim.

1

Perc.

2 Dumbec (2 Clay Drums) High

3 Low

Synth.

Piano

Harp

(On the “little� stage, we see two large, muscular, oiled, bald men, stripped to the waist, wearing baggy pants, dueling with long, heavy scimitars. We are at a gala reception in the embassy of the Sublime Porte. The decor pays homage to the Turkomania of Europe in the 18th and early 19th centuries. Presiding over a glittering court of officials, harem girls, and Europeans is Suleyman Pasha, a huge, round, jolly man wearing a turban and an embroidered coat. The Pasha is seated crosslegged on a round cushion placed on a vast Oriental rug. Standing to the side, on a balcony overlooking the street, to the right of an enormous potted palm, are Almaviva, Rosina, and Susanna. The Count anxiously surveys the room, obviously waiting for someone. To the left of the tree, partially hidden by the fronds, are Florestine and Leon. Every time the count looks in their direction, Leon ducks behind the palm, prodded by Florestine. Sometimes she smiles at her father, and fans herself rapidly when he looks toward her.)

Servant Pasha

I Vn. II

Va.

Vc.

Cb.


270

1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1

Bn.

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2 (cue: onstage scimitars)

Large Tamtam

Timp. with soft stick

(B.D.)

1 Anvil

Perc.

2 Dumbec

3

Synth.

Piano

Harp

(The two duelers bow.) (The guests and ghosts applaud.)

Servant

Pasha

I Vn. II

Va.

Vc.

Cb.


271

109 1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1

Bn.

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1 cue: onstage Crotales

Perc.

2

3

Synth.

Piano

Harp

Crotales

Servant

Pasha * Se

I Vn. II

Va.

Vc.

Cb. *Welcome! (in Turkish)

3

la

m端

na

ley

3

k端m!

Se

la

m端

na

ley

k端m.


272

1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1

Bn.

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Servant (Pasha sneezes.)

(Pasha sneezes.)

Pasha

I

I Vn. II

Va.

Vc.

Cb.

am

Su

ley man Pa

sha.

I

bid you wel

come to

my hum

ble a bode.


273

110

= ca. 108

*

1 Fl.

2 “Rhieta sound"—lips on string of reed

*

1 rough Ob.

2

1 Cl. in B

2

1

Bn.

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1 Crot.

Perc.

2 Clay Dumbec

ad lib. similar patterns

*

3 Low Drum

Synth.

Piano

Harp

(The Pasha claps his hands, signalling the start of a new entertainment. An onstage Oboe (or optional Oboe, Flute duo) and 2 Percussionists (one dumbec, one larger drum) start playing. They are fairly deep into the stage, so their volume will not be overwhelming. They play without conductor and do not synchronize with the other music. The performers’ curtain is raised and several dancers emerge and entertain the guests, accompanied by the Flute-Oboe-Percussion music. The Pasha sits.)

Servant

Pasha **

Hay di ba ka lim ge le cek o yun bas 1 stand (or 1 solo)

la

sin.

= ca. 108

I Vn. II

Va.

Vc.

Cb. *This music is played by onstage musicians. If, however, it is played by the pit orchestra, the flute and oboe players should, if possible, move next to the percussion player in the pit, thus creating an ensemble that plays together. After third bar, this group continues in its own tempo as conductor conducts other pit players. If flute and oboe are too loud for singers, only flute should play this section. **“Let the next act begin!”


274

1 Fl.

2

1 Ob.

2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec, Low Drum)

3

Synth.

Piano

non arpeggio

Harp

dolce

M.A. Louis: (to Beaumarchais) slow, free

Louis

I 3 stands, div. a3

I Vn. II

Va.

Vc.

Cb.

can’t

stay

an

gry

with

you,

you

old

ma

gi

3

cian.


275

Fl.

1

3 5

Ob.

1

3 5

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec, Low Drum)

3

(HARPSICHORD) *

Synth.

Harp

Marie Antoinette: (overlapping Louis) (she giggles)

(Léon peeks from behind the tree.)

(Florestine sees Almaviva turning towrads them.)

(Léon hides)

M.A.

I

feel

tip

sy. Florestine:

Florestine 3

Quick,

Léon:

Léon

Say it, Almaviva 8

(div. a3)

I Vn. II

Va.

Vc.

Cb. *Conductor cues chords with left hand.

dar

ling,

say it!

on,

hide!


276

111 1

Fl.

2

1

(buzz) Ob.

1

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec, Low Drum)

1

2

3

Synth.

Harp

(Léon looks from his hiding place.)

(Almaviva turns away.)

(As Almaviva turns again, Florestine pushes Léon behind the palm tree.)

Florestine

Quick ly, Rosina

Léon 3

I don’t care Almaviva 8

3

Oh, where is

I Vn. II

Va.

Vc.

Cb.

3

he?

The Am bas sa

dor is

late.

3

a

bout

your

fath er.

Say it,

I

begyou.

dear est…


277

Fl.

1 3

Ob.

1 3

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec, Low Drum)

3

Synth.

Harp

(Léon reappears as Almaviva and Susana turn away again.)

Rosina:

Rosina 3

Lis ten to

3

rea son.

Do not sell the jewels

Susanna:

to night.

3

Susanna:

But,

mas ter…

Léon 3

I

Almaviva:

Almaviva 3

8

My

mind

(div. a3)

I Vn.

div.

II

Va.

Vc.

Cb.

unis.

is made up.

3

no long er

know

who I


278

Fl.

1 3

Ob.

1 3

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec, Low Drum)

3

Synth.

Piano

Harp

(Taps her head to indicate that Léon is mad.)

Florestine

Poor lad… 3

3

Léon

am

or

(div. a3)

I Vn. II

Va.

Vc.

Cb.

what I’m

do ing.

One mo ment I’m

on

fire,

the next,

I’m

like

ice.

Say

it,

dar ling:

3

Do you

love me?


279

112

Fl.

1

Ob.

1

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec, Low Drum)

3

Synth.

Harp

Florestine

LĂŠon

A wake

Marquis: (to Beaumarchais) slow, free

I think of you, a sleep

Marquis 8

She

loves

you.

(div. a3)

I Vn.

div.

II div.

Va. div.

Vc.

Cb.

I think of you. Walk ing, run ning, read ing, eat ing, breath ing,

I

think of you.


280

Fl.

1

Ob.

1

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec, Low Drum)

3

Synth.

Harp

dolce

Florestine 3

Oh,

why do

I

love

such

a

sil ly,

use

less

boy? (with wonderment)

3

LĂŠon

She loves

me!

You

Beaumarchais:

love

me!

Say

(to himself, with wonderment)

Beau.

She (div. a3)

loves

me.

1 solo

I div. a3

Vn. II

dolce (div.)

1 sola

Va. dolce

3 soli

(div.)

Vc. dolce div.

Cb. dolce

2 soli

it

a


281

Fl.

1

Ob.

1

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec, Low Drum)

3

(HARPSICHORD)

Synth.

Marie Antoinette: (silencing him)

Shhh! I’m listening

(Léon hides as Florestine smiles and waves her handkerchief at her father.) (Léon pops his head out.)

(Florestine pushes Léon back.)

Florestine 3

3

Not now, my pet.

3

3

Oh, where is Fi ga ro?

3

He said he’d be here.

(to Almaviva) Susanna: 3

Susanna

Lis ten to Fi ga ro.

Bé gearss is the trai tor!

Almaviva:

Léon 3

gain.

3

That man is a

saint.

Almaviva:

Almaviva 8

That trai tor!

*

1 stand

I Vn. II unis.

Va. unis.

Vc. unis.

Cb. *Conductor will give a left hand cue.


282

Fl.

1

Ob.

1

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1 = ca. 136–144 * S.D., muffled

Perc.

2 (Dumbec, Low Drum)

3

(HARPSICHORD)

Synth.

Harp

(Enter Bégearss, Wilhelm, and Revolutionary Guards from a far door. The guards are goons thinly disguised as gentlemen.) (The Guards nod in understanding.)

Florestine

I’ll

Bégearss: (to guards while walking)

nev er

mar ry him.

Bégearss 8

3

3

…but re mem ber, you

3

3

are fo

3

reign di plo mats…

Almaviva 3

8

3

That man is div. a3

I Vn.

div.

II

Va.

Vc.

Cb. *Do not synchronize with voice. Percussionist sets tempo.

3

a

saint.

3

Andmy daugh ter’s

3

fi an cé.


283

113 Fl.

1

Ob.

1

1 Cl. in B

2

Bn.

1

Cbn.

*

1 Hn. in F

cresc. poco a poco

dim. *

cresc. poco a poco

dim. *

cresc. poco a poco

dim. *

cresc. poco a poco

dim. *

cresc. poco a poco

dim. *

cresc. poco a poco

dim.

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1 ( = ca. 144) S.D., muffled

Perc.

2 cresc. poco a poco (Dumbec, Low Drum)

dim.

3

(brass, to support crescendo if needed)

Synth.

cresc. poco a poco

Harp

(Almaviva turns away.) Florestine: (seeing Bégearss)

(Léon hides again.)

Florestine Léon: (whispers)

3

Quick,

3

hide!

Léon 3

Say it a gain!

(continuing)

Bégearss 8

…and when he give him the jewels, then, and not before, you attack like wild

(div. a3)

I (sempre

Vn.

)

II

Va.

Vc.

Cb. *If necessary, the player may breath and re-attack on this beat.

dogs

and hold the Count in your jaws.


284 (Dance and music end when handbell sounds.) Fl.

1

Ob.

1

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1 (Crotales) (S.D.)

Perc.

B.D.

2 (Dumbec, Low Drum)

3

Synth.

Harp

(Page stamps cane of floor as he rings a handbell.) (Almaviva sees Bégearss.)

(Bégearss approaches Almaviva.)

Page: (playing Crotale)

(The English Ambassador appears as the onstage musicians scurry together to play his national anthem.)

spoken Page

His excellency, the British Ambassador. Bégearss 8

My

Almaviva 3

8

3

Ah, Bé gearss, my friend. (div. a3)

I Vn.

unis.

div.

II dolce div.

Va. dolce div.

Vc. dolce div.

Cb. dolce

dear

friend.


285

114 1 Fl.

3

5

3

5

3

5

2 rhieta sound

1

rhieta sound

Ob.

2

1 Cl. in B

Bn.

2

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 Dumbec, with cane beaters

3

Synth.

Piano

Harp

Almaviva 8

(The British Ambassador looks askance at the duo.)

B. A.

I Vn. II

Va.

Vc.

Cb.


286 moving ahead 1 Fl.

2

1 Ob.

2

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec)

3

(HARPSICHORD)

Synth.

Harp

Almaviva 8

(He looks less and less happy at the rendition, while the Pasha beams at his musicians.)

B. A.

moving ahead 1., solo, col legno

ord., non vib.

I Vn. II 1., sola, col legno

ord., non vib.

Va. div., non vib.

ord., non vib.

1 2

col legno

Vc. 3

2 soli, col legno 0

Cb.

ord., non vib.


rubato quarter-tone lip vibrato

a tempo

287

rit.

quarter-tone lip vibrato

ord.

6

6

1 Fl.

2 quarter-tone lip vibrato

quarter-tone lip vibrato ord.

6

6

1

quarter-tone lip vibrato

Ob.

quarter-tone lip vibrato ord.

6

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec)

3

Synth.

Harp

Backgrnd. Chatter

Almaviva 8

B. A.

(solo)

rubato

I Vn. II (sola)

Va. (div.)

1 2 Vc. 3 non vibrato

Cb.

a tempo

rit.

6


288

115 1

Fl.

2

Ob.

1 to English Horn

E.H.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec)

3

(HARPSICHORD)

Synth.

Harp

(The Ambassador bows to the Pasha, then goes to Almaviva’s group. The dancers exit through the performers’ curtain and are replaced by some acrobats. They perform to ad lib. percussion played by the onstage percussionsist(s). The guests chatter in the background. The English Ambassador approaches Almaviva.)

Backgrnd. Chatter Almaviva:

Almaviva 8

3

British Ambassador: (somewhat formally)

B. A.

Too long, your ex cel len cy.

How is your cou sin

and la

dy

A

lice?

3 3

3

My dearAl ma vi va,

1., solo, with vibrato

I rich

Vn. II

1., sola, with vibrato

Va. rich 1-3, div. a3, with vibrato

Vc. rich 2 soli, with vibrato

Cb. rich

it

has been a

long time.

We have so much


289

1 Fl.

2

Ob.

1

E.H.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Dumbec)

3

Synth.

Harp

Backgrnd. Chatter (They both walk off arm in arm with exaggerated politeness toward the palm, not noticing that they are being followed by Susanna, Léon, Florestine, Rosina, Bégearss, and the Revolutionary Guards. The Pasha notices this procession and, curious, joins the line. As other people notice the “watchers,” they too, turn to stare at the English Ambassador and Almaviva, who notice nothing. Finally, everyone, including acrobats, musicians guests, and Turks is silently staring. The Ambassador and Almaviva put their hands in their pockets. dolce

(looks at the English Ambassador)

clears throat

Almaviva 8

3

3

I… (to Rosina)

have a

lit tle

gift

for you, sir.

Shall we…? dolce

B. A. 3

news

to ex change. You willex cuse us,

ma

dam.

And I,

for you.

(1., solo)

I Vn. II (1., sola)

pizz.

(1-3, div. a3)

pizz.

(2 soli)

pizz.

Va.

Vc.

Cb.


290

116 1

Fl.

2

Ob.

1

E.H.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp. cue: Page playing Crotales

1

Perc.

2

3

Synth.

Harp

The Ambassador and Almaviva look down the line of pursuers to a very embarassed Pasha. Simultaneously, they remove their hands from their pockets. Bégearss mutters “Damn!” and the Pasha, giggling, motions for the Page to ring his bell. During this exchange, the other principals look back and forth between the Pasha and the Ambassador and Almaviva as if they were at a tennis match.) Page: (Playing Crotales)

They are about to make the exchange when the… …Pasha sneezes.

Page Bégearss: spoken

Bégearss

Damn!

8

formally, after regaining his dignity)

Pasha:

Pasha

Sneeze! (Looks at Almaviva)

B. A.

Shall we…? I Vn. II

Va.

Vc.

Cb.

O

ex

cel

lent

ones!

O no

blegath

’ring!


291

1 Fl.

2

Ob.

1

E.H.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Page

Pasha

To the sing

I Vn. II

Va.

Vc.

Cb.

ing of Sa mi ra, at

tend!

The fra grance of jas mine, the warmth

of the de

sert,

the

beau ty

of the moon—

Sa

mi


292

Cavatina

117 Allegro

= 144

1 Fl.

2

Ob.

1 English Horn

E.H.

1 Cl. in B

2

Bn.

1

Contrabassoon Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

Perc.

1 2 3 (LOW STRINGS)

Synth.

Piano

Harp

(The performers’ curtain parts, and Samira enters. She is elaborately garbed as an Arab dancer. The Pasha places himself between Almaviva and the English Ambassador, all facing the perfomers’curtain.)

Pasha

ra.

Allegro tutti

= 144

div., half pizz., half arco sul pont.

I Vn.

tutti, div.

div., half pizz., half arco sul pont.

II

tutti

Va. tutti

Vc. tutti

Cb.

div., half pizz., half arco sul pont.


293 Slow and free

solo (moderato, player sets tempo)

1 Fl.

2

Ob.

1

E.H.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

*

slow and free

(

)

Samira

I

am

in

a val

ley

and you

are

in

a val

ley.

Slow and free unis., arco sul ponticello

I Vn.

unis., arco sul ponticello

II

unis., arco sul ponticello

Va.

Vc.

Cb. *Generally, sing without vibrato except where indicated. Occassionally ad lib. vibrato or slow change from no vibrato to vibrato.

I

haveno she-

or he

ca melin

it.


294

1 Fl.

2

Ob.

1

E.H. quarter-tone lip vibrato

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(slow)

(how - oose)

Samira

In ev’ (sul pont.)

I Vn.

(sul pont.)

II (sul pont.)

Va.

Vc.

Cb.

ry house

there is

a cess

pool.

That’s

(accel.)

(rit.)


118 Allegro

295 = 144

1 Fl.

2

Ob.

1

E.H.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3 (tuba)

Synth.

Piano

Harp

Samira

life!

Allegro

= 144

I div., arco ord.

Vn. II

unis., arco ord.

Va.

Vc.

Cb.


296 Slow and free 1 Fl.

2

Ob.

1

E.H.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

slow

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

quarter-tone oscillation

3

Samira 3

He

beat me,

Slow and free div., half pizz., half sul ponticello

I Vn.

div., half pizz., half sul ponticello

II

div., half pizz., half sul ponticello

Va.

Vc.

Cb.

then wept,

stole

my wa ter

and then com plained.

(d)

Some days

it’s ho ney some

3

3

days,

on ions.


297

1 Fl.

2 rall. Ob.

1

E.H.

1 Cl. in B

2

Bn.

1

Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

*

Harp

accel. (repeated ad lib.)

(as before)

Samira

But

re pe ti tion

I Vn. II

Va.

Vc.

Cb. *Play A , pedal to A , back to A (reattack), and repeat.

will

teach

e ven

a don

key.

That’s

rall.


298

119 Allegro

= 144

Slow

1 Fl.

to Piccolo

2

Ob.

1 to Oboe

E.H.

1 Cl. in B

2

Bn.

1

to Bassoon Cbn.

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

Perc.

1 2 3 (tuba)

Synth.

Piano

(delay A and E until pedal change)

Harp

Samira

life!

(calling out to Samira)

Far fromthe eye,

far from the heart. Keep a way from e vil

Pasha

Cok yasa yavrum!

Allegro

= 144

Slow

unis., arco ord. div., half pizz., have arco sul ponticello

I tutti (div.), arco ord.

Vn.

div., half pizz., have arco sul ponticello

II

unis., arco ord.

Va.

Vc.

Cb.

div., half pizz., have arco sul ponticello

and sing

to it.


299 Moderato Picc.

Fl.

1 Rhieta Oboe, solo

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Samira looks at the Pasha and sings to him seductively.

Samira (Calling out to her again)

Pasha

Söyle güzelim! Söyle, guzelim!

Moderato (div., half pizz., half arco sul pont.)

I Vn.

(div., half pizz., half arco sul pont.)

II

(div., half pizz., half arco sul pont.)

Va.

Vc.

Cb.

Ya ha

bi

bi.

Ya

ha


300

120

Picc.

Fl.

1 *

rall.

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

rall. *

Samira

bi

bi.

Ya ha bi

bi.

(half pizz., half arco sul pont.)

I Vn.

(half pizz., half arco sul pont.)

II

(half pizz., half arco sul pont.)

Va.

Vc.

Cb. *The figures in Oboe 1 and Samira should overlap each other.

Ya


301

Picc.

Fl.

1 *

N

N

N

N

N

N

N

N

N

N

(NONO)

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

(joining Oboe) *

Samira

Ya

Ya

I Vn. II

Va.

Vc.

Cb. *These figures should overlap.

Ya

Ya

Ya


302 121

Cabaletta Allegro

= 144

Picc.

Fl.

1

1 harsh

Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1 S.D., rimshot

Perc.

2 Low Dr. Dumbec, with cane beaters

continue, simile, ad lib. 16ths

3

Synth.

Piano

Harp

Samira

om

ri

Allegro

= 144

unis., col legno battuto

I Vn. unis., col legno battuto

II

unis., col legno battuto

Va. 0

col legno battuto

Vc. 0

col legno battuto

Cb.

Li

ma tha haj

ar

ta ni? Hat

tam ta Kal

bi.


303 Piccolo Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Low Dr., Dumbec)

3

Synth.

Piano

Harp

Samira

Kay

I Vn. II

Va.

Vc.

Cb.

fa

ta fal bi

ya

ha

tha?

Li

ma tha haj

ar

ta ni? Hat

tam ta kal

bi.

Kay

fa,

ta fal bi

ya


304

122 Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn. Bassoon

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Low Dr., Dumbec)

3 (WOODWINDS)

Synth.

Piano

*

D

Harp

Samira

ha

tha?

Ya

ro

hi,

ha

bai tak,

La ken tan sa wo ord.

I Vn. ord.

II

ord.

Va. ord.

Vc.

ord.

Cb. *Use pedals to bend notes upward and back.

oo dak.

Ya

ro

hi,

ha


305

Picc.

Fl.

1

1 coarse

Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 Low Dr., Dumbec (ad lib. 16ths on Dumbec)

3

(tuba)

Synth.

Piano

Harp

Samira

hai

tak,

La ken

tan sa woo

oo

dak.

Li col legno battuto

I Vn.

col legno battuto

II col legno battuto

Va. 0

col legno battuto

Vc. 0

col legno battuto

Cb.

ma tha haj

ai

ti ni? Hat tam ta Kal

bi.

Kay

fa

ta fal bi ya


306

123 Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Low Dr., Dumbec)

3

Synth.

Piano

Harp

Samira

ha

I Vn. II

Va.

Vc.

Cb.

tha?

Li

ma tha haj

ar

ta ni? Hat

tam ta

kal

bi.

Kay

fa

ta

fal

bi

ya

ha

tha?


307

124 Slightly faster Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

brassy

2 brassy

1 Tpt. in C

2

1 Tbn. 2 *

Timp.

1

Perc.

2 Low Dr., Dumbec (ad lib 16ths)

3 (WOODWINDS)

Synth.

Piano

Harp

(Samira goes to the performer’s curtain, which was closed after her entrance. She reaches through its center opening and gracefully pulls out the hand of a beautiful dancing girl, who enters pulling through the hand of another girl. The sixth of these elaborately clothed female dancers is Figaro in disguise. He sings and dances with the girls, hoping to be unnoticed.)

Samira

Ya

ro

hi,

ha

bai tak,

La ken tan sa woo

oo dak.

Slightly faster

ord.

col legno battuto

I 0

Vn. ord.

col legno battuto

ord.

col legno battuto

II 0

Va. ord.

col legno battuto

ord.

col legno battuto

0

Vc.

Cb. *High D to be played on Rototom

0


308

Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2 take harmon mute

1 Tpt. in C

take harmon mute

2

1 Tbn. 2

Timp.

1

Perc.

2 (Low Dr., Dumbec)

3

8va

(w.w.)

Synth.

8va

Piano

Harp

(The girls and Figaro form a line behind Samira and dance to her singing.)

Samira

Li

I Vn. II

Va.

Vc.

Cb.

ma thahaj

ar

tani? Hat tam ta kal

bi.

Kay

fa

ta fal bi ya

ha

tha?

Li

ma thahaj

ar

ta ni? Hat tam ta kal


309

Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Low Dr., Dumbec)

3 (WOODWINDS)

Synth.

Piano

Harp

(The girls and Figaro dance in place.) *

Samira

bi.

Kay

fa

ta

fal bi ya

ha

tha?

Ya

ro

hi,

ha

bai tak,

La ken tan sa woo ord.

I Vn. ord.

II

ord.

Va. ord.

Vc. ord.

Cb. *Only Samira sings here.

oo dak.


310

125

Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

Perc.

1 2 3

Synth.

Piano

Harp

Samira Dancing Girls:

Ya

ro

hi,

ha

bai tak,

La kentan sawoo

Dancing Girls

Ya

ro

hi,

ha

bai tak,

La ken tan sa woo

oo dak.

Ya

ro

hi,

ha

bai tak,

La kentan sawoo

Ya

ro

hi,

ha

bai tak,

La ken tan sa woo

oo dak.

Ya

ro

hi,

ha

bai tak,

La kentansa woo

Figaro:

Figaro

I Vn. II

Va.

Vc.

Cb.


311

Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2 with harmon mute

1 Tpt. in C

with harmon mute

2

1 Tbn. 2

Timp.

1

Perc.

2 Dumbec (ad lib. 16ths)

3 Low Dr. (stopped horns, or strings)

Synth.

Harp

Samira

oo

dak.

oo

dak.

oo

dak.

Li

Dancing Girls

Figaro

col legno batt.

I Vn. col legno batt.

II

col legno batt.

Va.

col legno batt.

Vc. 0

col legno batt.

Cb.

ma tha haj

ar

ta ni? Hat

tam ta kal

bi.

Kay

fa

ta fal bi ya


312

126 Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2 (with harmon mute)

1 Tpt. in C

2

1 Tbn. 2

Timp. (Low Dr., Dumbec)

Perc.

3 (stopped horns)

(WOODWINDS)

Synth.

Piano

Harp

Samira

ha

tha?

Li

Dancing Girls

Ya

ro

hi,

ha

bai tak.

Ya

ro

hi,

ha

bai tak.

Figaro

I Vn. II

Va.

ord.

col legno battuto

ord.

col legno battuto

Vc.

Cb.

ma thahaj

ar

ta ni?Hat

tamta Kal

bi.

Kay

fa,

ta fal bi ya


313 slightly faster Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

(with harmon mute)

1 Tpt. in C

(with harmon mute)

2

1 Tbn. 2

Timp. (Low Dr., Dumbec)

Perc.

3 (WOODWINDS)

Synth.

Piano

Harp

Samira

ha

tha?

Li

Dancing Girls

Ya

ro

hi,

ha

bai tak,

La ken tan sa woo

oo dak.

Ya

ro

hi,

ha

bai tak,

La ken tan sa woo

oo dak.

Figaro

slightly faster

ord.

col legno battuto

I 0

Vn. ord.

col legno battuto

ord.

col legno battuto

II 0

0

Va. ord.

col legno battuto 0

Vc. ord.

Cb.

col legno battuto 0

ma thahaj


314

127

Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2 take straight mute

1 Tpt. in C

take straight mute

2

1 Tbn. 2

Timp.

(Low Dr., Dumbec)

Perc.

3

Synth.

Piano

Harp

Samira

ar

ta ni?Hat tam ta kal

bi.

Kay

fa

ta fal bi ya

ha

tha?

Li

Dancing Girls

Kha

in!

Kha

in!

Figaro (non div.)

I Vn.

(non div.)

II (non div.)

Va. (non div.)

Vc. (non div.)

Cb.

ma thahaj

ar

ta ni?Hat tam ta kal

bi.


315

Picc.

Fl.

1

1 Ob.

2

1 7

Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 (Low Dr., Dumbec)

3

(WOODWINDS)

Synth.

Piano

Harp

Samira

Kay

fa

ta

fal bi ya

ha

tha?

Ya

ro

hi,

ha

bai tak,

La ken tan sa woo

(non div.)

ord.

(non div.)

ord.

I Vn. II

(non div.)

ord.

Va. (non div.)

ord.

(non div.)

ord.

Vc.

Cb.

oo dak.


316

128

Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

Perc.

1 2 3 (WOODWINDS)

Synth.

Piano

Harp

Samira

Ya

ro

hi,

ha

bai

tak,

La

ken

tan

sa

woo

oo

dak.

Ya

ro

hi,

ha

bai

tak,

La

ken

tan

sa

woo

oo

dak.

Ya

ro

hi,

ha

bai

tak,

La

ken

tan

sa

woo

oo

dak.

Dancing Girls

Figaro

I Vn. II

Va.

Vc.

Cb.


317 * Picc. sub.

Fl.

1 sub.

1 sub.

Ob.

2

1 Cl. in B

sub.

2 sub.

1 sub.

Bn.

2

1 Hn. in F

2 with straight mute (remove during final repetition after downbeat)

1 Tpt. in C

with straight mute (remove during final repetition after downbeat)

2

1 Tbn. 2

Timp. Tamb.

Perc.

2

(WOODWINDS)

Synth.

Piano

sub.

sub.

Harp

wailing** Samira sub.

Dancing Girls

Ya

ro

hi,

ha

bai

tak,

La

ken

tan

sa

woo

oo

dak.

Ya

ro

hi,

ha

bai

tak,

La

ken

tan

sa

woo

oo

dak.

sub.

Figaro

pizz.

I sub. pizz.

Vn. II

sub.

Va.

Vc.

Cb. *Orchestra repeats four bar figure until cue at rehearsal number 129. Signal final repetition in order for Trumpets to remove mutes. **Samira wails, ad lib., ignoring the accompaniment.


318

Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Samira

Ya Dancing Girls

Figaro

I Vn. II

Va.

Vc.

Cb.

ya

ya

ya

ha

bi

bi,

ya

3

ha

bi

bi.


319

Picc.

Fl.

1

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

*

Samira

ya

ha

bi

bi,

ha

ha,

Dancing Girls

Figaro

I Vn. II

Va.

Vc.

Cb. *Samira waits for conductor cue for final four bars. Conductor waits for end of the four bar pattern to cue her.

Ya

oom

ri,

ya

oom

ri.


320

129 lunga

to Flute Picc. sub.

lunga

1

Fl.

sub.

lunga

sub.

lunga

1 Ob.

2 lunga

1 Cl. in B

sub.

lunga

sub.

lunga

sub.

lunga

2

1 Bn.

2 lunga

1 Hn. in F

lunga

2 lunga

open

1 Tpt. in C

lunga

open

remove mute

2 lunga

1 Tbn. 2 lunga

(Tamb.)

Perc. 2 (WOODWINDS)

lunga

(strings)

Synth.

lunga

Piano

sub.

lunga

Harp

(Samira, Dancing Girls, and Figaro freeze; Pasha’s audience and Ghosts applaud them. After the applause, Samira exits. The other dancers (including Figaro) acknowledge the applause by bowing their heads and then leave the playing area to offer the guests fruit from large bowls. At the same time, Almaviva and the Ambassador once again try to sneak off together; once again the principals (minus Pasha) follow them. Figaro makes his way to the head of the line of pursuers, offering each one in turn some fruit.)

*

lunga

Samira

Ya

ro

hi,

ha

bai

tak,

La

ken tan

sa

woo

oo

dak.

lunga *

Dancing Girls

Ya

ro

hi,

ha

bai

tak,

La

ken tan

sa

woo

oo

dak.

lunga *

Figaro

Ya

ro

hi,

ha

bai

tak,

La arco

ken tan

sa

woo

oo

dak.

lunga

I Vn. arco

lunga

II lunga

Va. lunga

Vc. lunga

Cb. *The music should end abruptly, with an “upbeat” feeling.


130

321 = 54–60

(freely

=

)

solo

1 5

languorous, sensual, rubato

Fl.

(

)(

)(

)

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Harp

(Almaviva and the English Ambassador reach the palm and, thinking they are alone again, start to exchange the money and the diamonds.) (Dancing Girls, a5 are asynchronous. Each should overlap the with ad lib. pauses.) (Second Dancing Girl start here, etc.) dolce, rubato

Dancing Girls

Ta fa da loo

(Almaviva and the Ambassador start to walk off together. They are pursued by the same group. Figaro makes his way to the Ambassador through the line of pursuers, offering fruit.)

3

Mar ha bun bi koom.

Almaviva 8

Figaro

Mar ha

= 54–60 I Vn. II

Va.

Vc.

Cb.

bun

bi

koom.


322

1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp. Vib., with hard sticks

1 secco

Perc.

2

3

Harp

(The girls continue to serve the guests, but do so silently. The Ambassador and Almaviva both put a hand in a pocket. They are interrupted by Figaro, who slips between them with his bowl of fruit. With a sexy smile and a wiggle, he offers them figs.) (Figaro breaks in between Almaviva and the English Amabassador.)

Dancing Girls Count Almaviva:

Almaviva 8

Shall we?

(8va, falsetto) sexy, free

Figaro

3

British Ambassador:

Ta fad

da loo

3

mar ha bun bi koom

al

fi

gi?

Fi gi, Fi gi?

B.A.

Shall we?

No, thank you, madam.

Shall we? pizz. (strum)

I Vn. (pont., arco)

II

pizz.

Va. pizz. (strum)

Vc.

2 soli

Cb.

1 solo


323

131 = 54–60 1

5

declamatory

Fl.

melting

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2 dolce

1 Tpt. in C

2

1 dolce

Tbn. 2

dolce

Timp. (Vib.)

1

Perc.

2

3

Synth.

Harp

(Almaviva and the Ambassador try to ignore Figaro. In the guise of being seductive. Figaro searches Almaviva’s pockets for the jewels.)

(Figaro overhears them.) (aside)

Almaviva 8

She’s

of

fen

sive. (gleefully aside)

Figaro

I’m

of

fen

sive.

(aside)

B.A.

She’s

of

fen

sive.

= 54–60 (pizz.)

arco

I Vn. (arco, sul pont.)

ord.

II

div., arco

Va. (pizz.)

Vc. unis.

Cb.

arco


324 (

=

)

1 languid

Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2

3

Synth.

Piano

Harp

Almaviva 8

Figaro

B.A.

I Vn. II

Va.

Vc.

Cb.


325

132 ( = 54–60) 1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

dolce

2 dolce

1 Tpt. in C

2

1 dolce

Tbn. 2

dolce

Timp. Vib.

Perc.

1 secco

Synth.

Piano

Harp

(Almaviva slaps at Figaro’s roving hand.)

(Figaro thrusts an orange at Almaviva.)

(aside)

Almaviva 8

I beg your pardon, madam.

She’s re pul

sive. (gleefully aside again)

sexier

Figaro

Ta fad

da

loo

mar

ha bun bi koom

al or an

gy?

or an

gy?

I’m re pul

(aside)

B.A.

She’s re pul pizz. (strum)

sive.

( = 54–60)

I Vn. sul ponticello

ord.

II

unis., pizz.

div., arco

unis.

Va. pizz.

Vc.

Cb.

arco


326 solo

1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 molto

Hn. in F

2 molto

1 Tpt. in C

2

1 Tbn.

molto

2 molto

Timp.

Perc.

1 2 3

Synth.

Piano

Harp

(Figaro throws a large avocado at Bégearss.)

(Figaro frantically searches Almaviva.)

(Figaro accidentally tickles Almaviva.)

Bégearss 8

Will you please go, madam?

She’s loath some.

Almaviva 8

She’s loath some.

What are you doing? Now stop that!

Figaro

sive.

A vo

ca di, a vo ca di?

I’m loath some.

B.A. div., arco

She’s loath some. unis.

I Vn.

div.

unis.

II

div.

unis.

molto

Va. div.

molto

Vc. molto

Cb. molto


327

133 1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1 Tpt. in C

2

1 Tbn. 2

Timp. Vib.

1

B.D.

Perc.

2 ominous

3

Synth.

Piano

Harp

l.v.

(Figaro leers and pulls out a banana.) sexiest

(falsetto)

Figaro

Ta fad pizz. (strum)

I

Vn.

sul ponticello

II

div.

Va.

unis., pizz. (strum)

Vc.

Cb.

(d)

da

loo

mar

3

3

ha bun

bi koom

al

ba

nan?


328

1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

molto

2

1 Tpt. in C

molto

2

1 Tbn. 2

Timp. (Vib.)

1 (B.D.)

Perc.

2 molto

Bell Tree

3 molto

Synth.

Harp

(Figaro finds the jewels and snatches them discreetly from Almaviva’s pocket while distracting him with the banana. But Wilhelm has witnessed the theft.

Marie Antoinette: (spoken)

(Almaviva tries to snatch the jewels back from Figaro, but by mistake pulls off his wig.)

M.A.

My diamonds! Bégearss: (spoken)

Bégearss 8

Arrest her!

Figaro

Wilhem: (shouted)

Wilhelm

The jewels! She’s got the jewels! Arrest that woman!

I Vn. II

Va.

Vc.

Cb.


329

134 = 132–136 1 Fl.

Flute

2

1 Ob.

2

Cl. in B

1 2

Bn.

1 2

Hn. in F

1 2

Tpt. in C

1 2

Tbn.

1 2

a2

1.

1.

Timp. (w.w., brass) (BASSOONS)

Synth.

8va

Piano

non arp.

Harp

(Figaro is recognized.)

(Figaro begins the chase.)

Bégearss 8

Ha!

8

Ha!

*

There’s

Fi ga ro!

There’s

Fi ga ro!

There’s

Fi ga ro!

Almaviva *

Wilhelm

Ha!

*

Stop!

Figaro

Oh,

no!

Here we go again!

S Chorus of Pursuers

Ha!

*

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

There’s

Fi ga ro!

Stop!

A

Ha!

*

T 8

Ha!

*

B

Ha!

*

= 132–136

arco

I

Vn.

non div.

div. a2

non div.

div. a2

II

Va.

non div.

div. a2

Vc.

div.

Cb. *(A loud gasp (intake of breath).

0


330

1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1 secco

Bn.

2

1 Hn. in F

secco

2 secco

take straight mute

with straight mute

take straight mute

with straight mute

1 Tpt. in C

2 take straight mute

1 Tbn.

take straight mute

2

Timp.

Perc.

1 2 3 (brass)

Synth.

(The Revolutionary Guards block the door.)

Bégearss:

(Figaro races past Bégearss.)

Bégearss 8

You

thief,

my

plan is

shat

tered. Wilhelm:

Wilhelm

You’ll pay! S

Chorus of Pursuers

Stop! A

Stop!

Revolutionary Guards and all men

T 8

He

stole the

jew

els!

Stop!

els!

Stop!

Revolutionary Guards and all men

B

He

stole the

jew

I

Vn.

unis.

div. a2

unis.

II

div. a2

Va.

div. a2

Vc.

Cb.

non div.


331

135 1 Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

3

3

3

3

3

3

3

3

1 Hn. in F

2 (with straight mute)

take harmon mute

1 Tpt. in C

2

Tbn.

1 2

Timp.

Perc.

1 2 3

Synth.

Piano

Almaviva:

(Armed Turks pursue Figaro.)

Almaviva 8

You’ll pay, you’ll pay, you’ll pay, you’ll pay, you’ll

pay!

You’ll pay, you’ll pay, you’ll pay, you’ll pay, you’ll

pay!

Wilhelm

Chorus of Pursuers

S

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Fi ga ro!

You’ll pay, you’ll

pay, you’ll pay, you’ll

Stop!

Stop!

Fi ga ro!

You’ll pay, you’ll

pay, you’ll pay, you’ll

A

T 8

B

I div., pizz.

Vn. II

pizz.

Va. rough

Vc. rough

Cb. rough


332

1 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2 with harmon mute

1 Tpt. in C

(with straight mute)

take harmon mute

2 with harmon mute

1 Tbn.

with harmon mute

2

Timp. Low Wd. Blk.

2 Perc.

Castanets

3

(strings)

Synth.

8va

3

Piano

3

Marie Antoinette: (clapping enthusiastically) M.A.

Bravo, Beaumarchais!!

Chorus of Pursuers

S

Stop!

Stop!

Stop,

Fi ga ro!

Stop!

Stop!

Stop,

Fi ga ro!

pay.

Stop!

Stop!

Stop,

Fi ga ro!

pay.

Stop!

Stop!

Stop,

Fi ga ro!

A

T 8

B

I Vn.

unis., arco col legno battuto

ord.

II arco col legno battuto

ord.

Va. col legno battuto

ord.

Vc. pizz.

Cb.


333

136

1. Fl.

1 2 3

Ob.

1 2

Cl. in B

2 1

possibile

3

a2 Bn.

1.

1 2 1.

3

Hn. in F

1 2

Tpt. in C

1 2

3

** (1. 2. ossia) 2.

a2

2.

*** 2. with harmon mute

1 3

*

Tbn. 2

3

Timp. Xyl.

1 Low Wd. Blk.

Perc.

T. Blks.

2 Ratchet

3

Synth.

8

3

Piano

3

Harp

(Marie Antoinette, Rossina, Woman with Hat, and others ad lib. comments)

M.A.

‌It’s wonderful!

(ad lib. shouts)

(ad lib. comments)

S Chorus of Pursuers

Stop!

Stop,

Fi ga ro! (ad lib. shouts)

A

Stop!

Stop,

Fi ga ro!

Stop!

Stop,

Fi ga ro!

(ad lib. shouts)

T 8

(ad lib. shouts) B

Stop!

Stop,

Fi ga ro!

S

Opera Ghosts

Rug!

laughter

A

Dead!

Bored!

3

laughter

T 8

Egg!

Bored!

3

laughter

B 3

I Vn.

pizz.

non div., arco

II non div.

Va.

Vc. (pizz.)

non div.

Cb.

* If triplet figure in next measure is too high, play cue sized notes for 2 measures. ** If triplet figure in next measure is too high for Trombones, play cue sized notes for 2 measures. *** If triplet figure is too high for Trombones, do not play.

3

Po ta to!

1 solo, arco sul ponticello

laughter


334

1 Fl.

2

Ob.

1 2

1 Cl. in B

2

1 Bn.

2

3

*

1 3

Hn. in F

3

3

*

2

Tpt. in C

1 2 *

1 3

Tbn.

*

2 3

Timp.

Perc.

1 2 3

Piano

Harp

(Figaro hides behind palm tree.)

Chorus of Pursuers

(ad lib. shouts)

S (ad lib. shouts)

A (ad lib. shouts)

T 8

(ad lib. shouts)

B

S

Rug!

(laughter)

Opera Ghosts

A

Dead!

Bored!

3

(laughter)

T 8

Egg!

Bored!

3

(laughter)

B 3

non div., arco

Po

3

ta to.

(laughter)

pizz.

I non div., arco

Vn. II

non div., arco

Va.

Vc. tutti, arco ord.

Cb. *As before.

1 solo, sul ponticello


335

137 1 Fl.

2

1 Ob.

2 3

3

3

3

1 Cl. in B

dolce

3 3

3 3

2 dolce

1 Bn.

2 3 3

1 Hn. in F

2 with straight mute

take straight mute

1 Tpt. in C

take straight mute

with straight mute

2 with straight mute take straight mute

1 Tbn.

with straight mute

take straight mute

2

Timp.

Perc.

1 2 3

(muted tpts., tbns.)

Synth.

3

3

3

3

Harp

Figaro

They love me! (ad lib. shouts)

dolce

Just

3

3

S 3

Chorus of Pursuers

Where (ad lib. shouts)

are

dolce

you,

Fi

ga

ro?

Come

3

3

to

3

me,

Fi

3

ga

ro.

Stop!

ro.

Stop!

ro.

Stop!

ro.

Stop!

3

A

Where (ad lib. shouts)

are

dolce

you,

Fi

ga

ro?

Come

to

ro?

Come

to

ro?

Come

to

me,

Fi

ga

me,

Fi

ga

me,

Fi

ga

3

3

T 3

8

Where (ad lib. shouts)

are

you,

Fi

ga

you,

Fi

ga

3

dolce

B

Where

3

are

3

3

3

I div.

Vn.

3 3

3

3

unis.

II dolce

Va.

Vc.

tutti, ord.

Cb.

pizz.

lis ten to them.


336

1 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Fl.

2

1 Ob.

2

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2

1

3

Tpt. in C

2 3

1

3

Tbn. 2 3

Timp.

Perc.

1 2 3

(muted brass)

3

Synth.

3

8va

Piano

3

(The chase resumes.)

Figaro 3

A

dor a ble! 3

3

S 3

Stop,

3

Fi ga ro!

There

Chorus of Pursuers

3

is

my

Fi

ga

ro.

Come

3

3

to

3

me,

Fi

3

ga 3

A

Stop,

Fi ga ro!

There

is

my

Fi

ga

ro.

Come

to

ro.

Come

to

ro.

Come

to

me,

Fi

me,

Fi

me,

Fi

ga

3

3

T 3

8

Stop,

Fi ga ro!

Stop,

Fi ga ro!

3

There

is

There

is

my

Fi

ga

my

Fi

ga

3

ga

B 3

I Vn. II

Va.

Vc.

3

3

3

3

ga


337 Flute 2 to Piccolo Fl.

138

1 2

1 Ob.

to English Horn

2

1 Cl. in B

sub.

possibile

sub.

possibile

2

1 Bn.

2

3

3

3

3

1 Hn. in F

possibile

3 3

2 possibile

1. Tpt. in C

1 2

Tbn.

1 2

a2

a2

Glock.

Perc.

1 S.D.

3

(muted tpts., tbns.)

Synth.

(tpts.)

8

Piano

(Figaro singing while running.)

Figaro

What pas sion.

It’s

mar

ve lous!

Here’s

Fi

ga

ro,

Chorus of Pursuers

S

ro.

Stop!

Stop,

Fi ga ro!

Stop!

ro.

Stop!

Stop,

Fi ga ro!

Stop!

ro.

Stop!

Stop,

Fi ga ro!

Stop!

ro.

Stop!

Stop,

Fi ga ro!

A

T 8

B (Ghosts point to parts of the stage.)

Stop!

Opera Ghosts

S

A

Fi ga ro’s there!

Fi ga ro’s

T 8

B

Fi ga ro’s where? I sub.

Vn. II

Va. pizz.

Vc. pizz.

Cb.

pizz.

Fi ga ro’s here?


338 Piccolo Picc.

Fl.

1

Ob.

1

E.H.

1 Cl. in B

2

1 Bn.

2 3

Hn. in F

1 2

Tpt. in C

1 2

Tbn.

1 2

( =

)

Glock.

1 Tamb.

Perc.

2 (S.D.)

3 (piano)

(horns)

Synth.

Piano

Harp

Figaro

Your

Fi

ga

ro.

Chorus of Pursuers

S

Stop,

Fi ga ro!

Stop!

Stop!

Stop,

Fi ga ro!

Stop!

Stop!

Stop,

Fi ga ro!

Stop!

Stop!

Stop,

Fi ga ro!

Stop!

Stop!

A

T 8

B

Opera Ghosts

S

Fi

ga

Ro’s where?

Fi

ga

ro’s here?

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

A

near!

Fi

ga

ro’s

past!

Fi

ga

ro,

Fi

ga

ro,

T 8

Fi

ga

ro’s there!

Fi

ga

ro’s near!

B

Fi

ga

ro’s

fast!

Fi

ga

ro’s

gone!

I Vn.

sub.

arco

II sub.

Va. (pizz.)

arco

(pizz.)

arco

sub.

Vc. sub.

Cb. sub.


339

Picc.

Fl.

1

Ob.

1

E.H.

1 Cl. in B

2

Bn.

1 2

Hn. in F

1 2

Tpt. in C

1 2

Tbn.

1 2 (Glock.)

1 (Tamb.)

Perc.

2 (S.D.)

3

Synth.

Piano

Harp

Figaro

Chorus of Pursuers

S

Stop!

Fi ga ro!

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Fi ga ro!

Stop!

Stop!

Stop!

A

T 8

B

Opera Ghosts

S

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro

Fi

ga

ro,

Fi

ga

ro

Fi

ga

ro,

Fi

ga

ro

Fi

ga

ro,

Fi

ga

ro

A

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

T 8

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,

B

I Vn. II

Va.

Vc.

Cb.

Fi

ga

ro,

Fi

ga

ro,

Fi

ga

ro,


340

139

= 96 to Flute

Picc.

Fl.

1 *Rhieta sound [A]

Ob.

1 *Rhieta sound [A]

E.H.

1 Cl. in B

2

1 Bn.

2

1 Hn. in F

2 *with straight mute [A]

1 Tpt. in C

2

1 Tbn. 2

Timp.

1

Perc.

2 Low Drum, Dumbec [A]

3

(COARSE OBOE)

Synth.

[A]

Harp

[A]

A

G

A

(A marching Rhieta has been waiting for their entrance. The opened curtain starts them playing (and marching.) They parade between Figaro and his persuers, blocking them. The persuers (and Figaro) are stunned by this intrusion and freeze in position. During the remainder of the act the “musicians” march around the stage providing Figaro with a constantly moving barrier from his foes.)

(The “Rhieta” Orchestra is made up of members of the chorus that are not already onstage as guests of the Pasha. composed mostly of sopranos and tenors, some altos and baritones may be needed to add volume to the lower notes. They all sing without words (into kazoos) imitating the oboes (note “bleating” sounds). This should be a very large group —at least half of the chorus— and should make a very large sound. The kazoos are diguised —by black cardboard tubes— to look like oboes. The players are in Arab dress.)

= 96

[A] 1 solo

I Vn. II [A] 1 sola

Va.

[A]

1 solo

Vc.

Cb. *Play only if necessary to support “Rhieta” (kazoos) marchers.

G D


341

140 Presto ** Fl.

1 2 [B]

Ob.

*

1

E.H.

Cl. in B

1 2

Bn.

1 2

Hn. in F

1 2 (with straight mute)

1 (with straight mute)

Tpt. in C

2 (with straight mute)

1 (with straight mute)

Tbn. 2

Timp. Tamb.

2 Perc.

(Dumbec)

*

3 (Low Drum) [B]

Synth.

Piano

[B]

Harp

Chorus of Pursuers

S

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

A

T 8

B

Presto 1 solo

[B]

*

[B]

*

[B]

*

I Vn. II 1 sola

Va.

gle altre

1 solo

Vc.

gli altri

Cb. *Repeat (AAB) for duration of extention line. (Strings through the end of Act I, Oboe and English Horn until 141, Percussion until 142.) **Do not synchronize pit orchestra with rhieta orchestra.


342 Flute Fl.

1 2

Ob.

1

E.H. 3

Cl. in B

1 2

Bn.

1 2

3

a2

3

3

3

3

Hn. in F

2 1

Tpt. in C

1 2

Tbn.

3

3

3

3

3

3

1 2 Xyl.

1 (Tamb.)

Perc.

2 (Dumbec)

3 (Low Drum)

(tpts., tbns.)

3

Synth.

3

Piano

Harp

Florestine

3

Go!

Fi ga ro,

Go!

Fi ga ro,

Go!

Fi ga ro,

Go!

Fi ga ro,

3

go!

Fi ga ro!

go!

Fi ga ro!

go!

Fi ga ro!

go!

Fi ga ro!

Rosina 3

3

Susanna 8

3

LĂŠon

3

3 8

3

S Chorus of Pursuers

3

Stop,

Fi ga ro!

Stop!

Stop!

Stop!

Stop!

3

Fi ga ro.

3

3

A

Stop,

Fi ga ro!

Stop,

Fi ga ro!

Stop,

Fi ga ro!

Stop!

Stop!

Stop!

Stop!

Fi ga ro.

Stop!

Stop!

Stop!

Stop!

Fi ga ro.

Stop!

Stop!

Stop!

Stop!

Fi ga ro.

T 8

3

3

B 3

3

Vn. I Solo Vn. I gli altri Vn. II Va. sola pizz.

arco

Va. le altre 3

3

3

3

Vc. solo pizz.

arco

Vc. gli altri pizz.

Cb.


343

141 Fl.

1 2

Ob.

1 2

Cl. in B

1 2

3

3

a2

Bn.

3

a2

1 2 3 3

Hn. in F

3

1 2 3

Tpt. in C

1 2

3

3

a2

Tbn.

a2

1 2 3

3

3

3

Xyl.

1 (Tamb.)

Perc.

2 (Dumbec)

3

3

3

3

3 (Low Drum)

Synth.

3

3

8va

Piano

ad lib. shouts of encouragement

Florestine

Fly!

3

Fi ga ro,

fly!

3

Fi ga ro, ad lib. shouts of encouragement

Rosina

Fly!

3

Fi ga ro,

fly!

3

Fi ga ro, ad lib. shouts of encouragement

Susanna 8

Fly!

3

Fi ga ro,

fly!

3

Fi ga ro, ad lib. shouts of encouragement

LĂŠon

Fly!

8

3

Fi ga ro,

fly!

3

Fi ga ro,

ad lib. shouts ro!

Chorus of Pursuers

S

No!

No!

3

Stop, Fi ga ro!

No,

no,

my

3

Fi ga ro!

3

3

ad lib. shouts

A

No!

No!

Stop, Fi ga ro!

No!

No!

Stop, Fi ga ro!

No!

No!

Stop, Fi ga ro!

No,

no,

my

Fi ga ro!

No,

no,

my

Fi ga ro!

No,

no,

my

Fi ga ro!

ad lib. shouts

T 8

3

3

ad lib. shouts

B 3

3

S Opera Ghosts

Dead. A

Bored. T 8

Bored.

B

Egg. Vn. I Solo Vn. I gli altri Vn. II Va. sola Va. le altre 3

3

Vc. solo div.

Vc. gli altri 3

(pizz.)

Cb.

3

3

arco

3


344 Flute 2 to Piccolo Fl.

1 2

Ob.

1 2

1 Cl. in B

2

1 Bn.

2 remove mute Tpt. in C

Tbn.

1 2

open

3

open

3

1 2 Xyl.

1 Perc.

(Dumbec, Low Drum)

3 (muted tpts.)

3

Synth.

3

8va

Piano

Harp

Woman with Hat: (outraged)

Woman w. Hat

3

This

(ad lib. shouts)

is

not

o

pe

ra!

Others (ad lib. shouts)

Pursuers Three Chattering Women:

3 Chattering Women

S

3 3

Look at Fi ga ro… (laughter) S 3

3

Look at Fi ga ro… (laughter) A 3

3

Opera Ghosts

Look at Fi ga ro… (laughter) S

Rug. B 3

Po

3

ta to.

Vn. I Solo Vn. I gli altri

Vn. II Va. sola pizz., ord.

arco

Va. le altre

Vc. solo arco

Vc. 4gli altri 1 solo, sul pont. tutti, pizz.

Cb.

arco

pizz.


345

molto rall.

Piccolo

142

a tempo

Picc.

Fl.

1

Ob.

1 2

Cl. in B

1 2

3

3

3

3

3

a2

3

Bn.

1 2

3 3

Hn. in F

1 2

Tpt. in C

1 2

Tbn.

1 2

a2 3

1.

Timp. Xyl.

Trg.

1 Cast.

Perc.

2 (Dumbec and Low Drum)

Tamb.

3 3

(picc. fl., 8va (w.w., hns.)

Synth.

3

3

Harp

(Other ghosts ad lib. cries, cheers, bravos, applause‌)

Marie Antoinette: M.A.

I love it! I love it!! Woman w. Hat

Wag ner

is

o

pe

ra!

Florestine

3

Go!

Fi ga ro, Go!

Go!

Fi ga ro, Go!

Go!

Fi ga ro, Go!

Go!

Fi ga ro, Go!

3

Fi ga ro.

Rosina 3

3

Fi ga ro.

Susanna

LĂŠon 8

3

3

3

Fi ga ro. 3

Fi ga ro.

Pasha:

Pasha

Hay

Page: (playing Crotale) Page

ro!

Chorus of Pursuers

S 3

No!

No!

Stop, Fi ga ro.

No!

No!

Stop, Fi ga ro.

No!

No!

Stop, Fi ga ro.

No!

No!

Stop, Fi ga ro.

A 3

T 8

3

B

molto rall.

a tempo

3

Vn. I Solo 0

0

0

0

0

0

Vn. I gli altri Vn. II Va. sola div., arco

Va. le altre Vc. solo unis.

Vc. gli altri div.

Cb.

tutti, unis.

pizz.


346

Picc.

3

3

marcato Fl.

1

Ob.

1 2

Cl. in B

1 2

3

3

3

3

2.

2.

1 2

Bn.

Hn. in F

1 2

Tbn.

1 2

3

3

3 3

3

3

1.

1.

**

Timp. (Trg.)

1 (Cast.)

Perc.

2 Tamb.

3 8va

3

(WILD RUMBLE)

Synth.

3

3

marc.

*

8va

Piano

Florestine

3

Fly,

Fi

ga

Fly,

Fi

ga

Fly,

Fi

ga

Fly,

Fi

ga

3

ro,

fly!

Fi

ga ro!

ro,

fly!

Fi

ga ro!

ro,

fly!

Fi

ga ro!

ro,

fly!

Fi

ga ro!

Rosina 3

3

Susanna

Léon

3

3 8

3

3

Figaro: (standing in balcony)

Figaro

I’m Pasha

di

ba ka lim

ge

le

cek

oy

un

bas

la

sin.

Page

ro! S

Chorus of Pursuers

3

No!

No!

No!

Fi

ga

No!

No!

No!

Fi

ga

No!

No!

No!

Fi

ga

No!

No!

No!

Fi

ga

ro!

A 3

ro!

T 8

3

ro!

B 3

Vn. I Solo Vn. I gli altri martelé

Vn. II

0

martelé

Va. sola Va. le altre Vc. solo *

Vc. gli altri 0

Cb. *Slow rising cluster. **Play on smaller timpanum to enable higher glissando in final measures.

arco

marc.

ro!


347

143

*

Picc. 8va

Fl.

1

Ob.

1 2

Cl. in B

1 2

3

3

2.

Bn.

3

1 2

3 3

Hn. in F

3

1 2 (open)

1 Tpt. in C 2 3

3

3

3

3

with straight mute

1 molto

with straight mute

Tbn. 2 Timp.

Xyl.

1 S.D.

Perc.

2 Tamb.

3

3

Synth.

8va

Piano

Harp

Woman w. Hat

This Florestine Rosina Susanna

is not Florestine, Rosina, Susanna:

o

pe ra! 3

Go!

Go!

Go,

Fi

ga ro!

Go!

Go!

Go,

Fi

ga ro!

LĂŠon

3 8

Figaro

home!

I’m

home!

Pasha Page

Chorus of Pursuers

S

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

A

T 8

Opera Ghosts

B S

Dead! B

Egg! Vn. I Solo Vn. I gli altri Vn. II Va. sola Va. le altre marc.

Vc. solo Vc. gli altri Cb. *Omit this note, if necessary, for breath.


348

accel.

Picc. 8va

Fl.

1

Ob.

1 2

Bn.

8va

3

3

Cl. in B

8va

3

1 2

1 2

Hn. in F

1 2

Tpt. in C

1

3

3

3

3

3

3

3

3

3

3

3 3

2 3

3

1

3

3

3

3

3

3

molto

Tbn. 2 Timp. Xyl.

1 S.D.

Perc.

2 (Tamb.)

3 3

Synth.

8

Piano Harp Woman w. Hat This

is

not

o

pe ra!

Florestine Go!

Go!

Go!

Go!

Go!

Go!

8

Go!

Go!

Go!

8

Go!

Go!

Go!

Rosina

Susanna Léon

Figaro I’m

Chorus of Pursuers

Pasha Page

home!

I’m

home!

3

S A Stop,

Fi

ga ro!

3

Stop!

Stop!

Stop!

Stop!

Stop!

Stop,

Fi

ga ro!

3

Stop!

Stop!

Stop!

Stop!

Stop!

Stop,

Fi

ga ro!

3

Stop!

Stop!

Stop!

Stop!

Stop!

T 8

B

Opera Ghosts

S Rug!

Dead!

A Bored!

3

Bored!

3

T 8

Bored!

3

Bored!

3

B 3

S S A

Po

ta

Egg!

3

to!

accel.

Vn. I Solo

3

Look at

Vn. I gli altri Vn. II Va. sola Va. le altre tutti

Vc. (non div.) 0

Cb.

3 Chattering Women:

(

molto)

3

Fi

ga ro!


349

(accel.) [BLACKOUT]

Picc.

Fl.

1

Ob.

1 2

2. 1. 3

Cl. in B

a2

1 2 3

Bn.

1 2

Hn. in F

1 2

3

3

3

3

a2

3

3

3

3

3

a2

1 Tpt. in C 2 1 Tbn.

molto

2 Timp. (Xyl.)

1 (S.D.)

Perc.

2 (Tamb.)

(omit if necessary)

B.D.

3 (HORNS, TROMBONES)

Synth.

8ba

Piano

8ba

Harp

Woman w. Hat

Not

Florestine Rosina Susanna

o

pe ra!

8

Go!

Go!

Go!

8

Go!

Go!

Go!

LĂŠon

Figaro

Chorus of Pursuers

Pasha Page (div.)

S A T B

Stop!

Stop!

Stop!

Stop!

Stop!

Stop!

Opera Ghosts

S Dead!

Dead!

A Bored!

3

T 8

Bored!

3

B Egg! S S A

accel.

Vn. I Solo Vn. I gli altri

Vn. II

Va. sola Va. le altre

Vc. increase number of bowings

Cb.

Egg!

3

Look at

3

Fi

ga ro!

[BLACKOUT]

Corigliano GHOSTS OF VERSAILLES, ACT 1 (reduced orchestration)  

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

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