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 II
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 II Scene 1.........................................................................350 Scene 2.........................................................................393 Scene 3.........................................................................418 Scene 4.........................................................................454 Scene 5.........................................................................487 Interlude.......................................................................531 Scene 6.........................................................................537 Finale............................................................................621
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 (2nd doubling Piccolo) 2 Oboes (2nd doubling English Horn) 2 Clarinets in B= (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 Percussion) Percussion (3 players) 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
350
ACT II
Scene 1
non vib.
1
non vib.
Fl. 2 accel.
non vib.
1 accel.
Ob.
non vib.
2 non vib.
1 Cl. in B
non vib.
2
1 Bn.
to Contrabassoon
2
1 Hn. in F 2 accel.
1 Tpt. in C
accel.
2 with straight mute
1 with straight mute
Tbn. 2 Perc.
Xyl.
1 S.D. (r.s.)
3
(tpts.)
Synth.
Piano
molto
G B
Harp
arco pizz.
0
Vn. I solo arco pizz.
molto
0
Vn. I gli altri arco pizz.
0
Vn. II arco pizz.
1 sola
1 sola
0
Va. le altre
(pizz.) molto
arco
2 soli, div.
Vc. arco
(sounds 8ba)
Cb.
Corrected 8/2009
molto
351
= ca. 48 ** Piccolo
1
to Piccolo
1 Fl.
molto
** Piccolo
to Piccolo
2 ***
molto
1 Ob.
molto
2 molto
1 Cl. in B
molto
to Clarinet in E
2 molto
Bn.
1
Cbn. open
1 molto
Hn. in F
open
2 molto *** with straight mute
take straight mute
1 Tpt. in C 2 remove mute
1 Tbn.
molto
remove mute
2 Glock., bowed
molto
1 Perc.
Vib., bowed
asynchronous
2 Pedal
asynchronous
molto
Synth.
8va
*
sempre
Piano
Beaumarchais: (spoken)
non Pedale
Beau. Hurry!… Hurry!… (Beaumarchais is trying to begin Act II of his opera, but the ghosts are dawdling over intermission. They are slowly returning to their seats, carrying glasses of wine and chatting animatedly about 8va the opera. One of the ghosts hovers above the stage and then descends into his or her seat.) ord. * sul ponticello
Vn. I solo legato poss.
8va
ord. *
sul ponticello
Vn. I gli altri legato sul ponticello
Vn. II sul ponticello
Va. sola poss.
arco, sul ponticello
Va. le altre
1-2 Vc.
poss.
3-4 poss.
Cb. poss. *Continue in exact tempo without conductor after double bar. **Slow, even rallentando, ignoring conductor. ***Play slowly and evenly. Do not align with or match the tempo of Violin I.
It’s late!…
352 (rall.)
1 Picc.
(rall.)
2 accel.
1 Ob. 2
Cl. in B
1
Clarinet in E
Cl. in E graceful
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Glock.)
1 (Vib.)
Perc.
2 (Pedal)
3
Synth.
8
Piano
slow gliss.
feathery
Harp
Beau. Madam…
8
tutti
I Vn. II
Va.
Vc.
Cb.
Sir…
Hurry… Hurry!
The second act
353 to Flute
1 Picc.
to Flute
2
1 Ob. 2
Cl. in B
1
to Clarinet in B
Cl. in E
Bn.
1 Contrabassoon
Cbn.
1 Hn. in F 2 remove mute
1 Tpt. in C 2
1 Tbn. 2
Timp. (Glock.)
1 (Vib.)
Perc.
2 (Pedal)
Pedal
3
8
Piano
Harp
Marie Antoinette:
M.A. Of course, he’s serious.
I’ll ask him.
Beau. is beginning! Louis: (laughing, to Marie Antoinette)
Louis It’s just an amusement.
No, no, no, my dear! 8
I slow gliss.
Vn.
al sord.
div. a3, con sord.
via sord.
II div. a4, con sord. slow gliss.
al sord.
Va.
Vc. 1 solo 3
Cb.
3
pizz.
arco
pizz.
arco sul pont.
354
2
Allegro
= 96
(Stesso tempo)
3
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
to Bassoon
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 (Vib.)
Perc.
via sord.
2
3
(HARPSICHORD through rehearsal 10 ) *
(in time)
Synth.
Piano
(The curtains of the little stage open onto Figaro’s and Susanna’s bedroom. It is the following morning. Almaviva, Rosina, Florestine, and Susanna are present.)
M.A.
Beaumarchais, are you claiming that you can bring me back to life?
You see? Count Almaviva:
Almaviva 8
I’ve
Beau.
3 3
I can change his
to ry.
Louis 3
Allegro
= 96
(Stesso tempo)
I Vn. II via sord.
Va. pizz.
Vc. tutti, pizz.
Cb. *Left hand cue.
Ab ra ca
3
da bra.
355
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
Florestine:
Florestine
And Bé
gearss
is…
Susanna:
Susanna
My
hus band is
an hon est
man.
Marquis: spoken, mocking
Marquis 8
He will change history…
interrupting Florestine
Almaviva 8
wait ed long e nough,
I Vn. II
Va.
Vc.
Cb. *Left hand cue.
Fi
ga
ro
won’t
re turn
the jew els.
I won’t
356
4
= 96
Flute
slow, quarter-tone oscillation
1 Fl.
Flute
slow, quarter-tone oscillation
2
1 Ob. 2 slow, quarter-tone oscillation
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
3
*
Synth.
Piano
Harp
Almaviva 8
lis ten toyour lies. Some how I’ll save the
Queen.
I have the po
Beaumarchais:
wer.
Beau.
My words
= 96 I Vn. II pizz., senza sord. 3
Va. (pizz.) 3
3
Vc. (pizz.) 3
Cb. 3
*Left hand cue.
have
po
wer.
My
357
5 1 Fl.
to Piccolo
2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 open
1 Tpt. in C 2 open
1 Tbn.
open
2
Timp.
1
Perc.
2 Sus. Cym.
3
Synth.
Harp
Marie Antoinette:
M.A.
I
want
Woman with Hat:
Woman w. Hat
Po
wer!
Almaviva 8
3
You’ll see.
espr.
Beau. 3
mu
sic
has
po
wer.
I
I Vn.
unis., senza sord.
II arco
Va. arco
Vc.
Cb.
want
to
make
you
hap
py.
to
358 **
Piccolo
Picc.
Fl.
1
Ob.
1 2
1 Cl. in B 2 a2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
1 Tbn. 2
Timp. **
* Vib.
1 (Sus. Cym.)
Perc.
Pedal
(l.v.)
3 ***
***
Synth.
*
**
*
**
Piano
Harp
spoken
M.A.
live
a gain.
Can you do that, Beaumarchais?
Woman w. Hat
Every day I thank God I’m dead.
Rosina:
Rosina 3
It’s late. to Susanna
Almaviva 8
Well? Louis:
Louis
If you call that living. Beau.
Yes! We shall live in Philadelphia. 1 solo, arco **
I Vn. II 1 sola
Va.
Vc.
Cb. *Slow patterns. **Conductor may cut off the orchestra earlier if necessary. ***Left hand cue.
6
359 ( = 48)
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 take straight mute
1 Tbn.
take straight mute
2
Timp. Xyl.
Perc.
1
Synth.
Piano
Harp
dramatically poss.
ossia:
M.A.
You don’t None of you understand.
were ev er
tru
ly
a live.
I loved
life.
I did!
I
Louis
Beau. tutti, div.
( = 48) I Vn.
div.
II tutte, div.
Va. div.
Vc. arco
Cb.
want
to
live
a gain!
360 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.
Perc.
1 2 3
Synth.
Piano
M.A.
I
be
lieve
you.
Florestine:
Florestine 3
3
I’m wor ried.
Count Almaviva: (to Susanna)
Almaviva 8
3
Tell me,
(The ghosts laugh.)
where is that hus band of
yours?
Louis
Excessive in life, excessive in death. Beau.
At
last. 1 solo, pizz.
I Vn. II 1 sola, pizz.
Va. sub. 3 soli, div. a3
Vc. sub. pizz.
Cb. sub.
Watch.
7
361 = ca. 96
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.
A
Harp
Susanna: 3
Susanna
Where have you been? Almaviva 3
8
Fi nal ly. Figaro:
(Figaro enters looking dissheveled.)
Figaro 3
Move
ov er.
I was fol lowed.
Louis 3
Fi nal ly.
(to Marie Antoinette)
Beau.
Now
= ca. 96
Figaro comes back.
Listen‌
Figaro
1 solo, arco
I Vn. II 1 sola, arco
Va. (div.) arco
1-2 pizz.
Vc. 3 2 soli, arco
Cb.
1.
1., 2., div., arco
362 rall.
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
(Figaro takes the necklasce out of his pocket. He toys with the necklace and paces. Count Almaviva follows him.)
Susanna
Just give it to him. Almaviva 3
8
3
Just give me the neck lace.
The neck lace.
Figaro
I‌
was think ing
a bout that neck lace.
Beau.
returns the necklace and then he and the Count rescue you from prison.
I Vn. II
Va.
1-2 Vc. 3
Cb.
What?
rall.
Slightly slower
The idiot hasn’t learned his lines.
363
8 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
Almaviva 8
To save the
Queen,
id i ot!
Figaro 3
I
said to my self,
why does my mas ter want it?
Why save her?
She’s
Louis
I love it! shouts
Beau.
Just give it to him!
How dare he improvise? Singers have no minds. (1 solo)
I Vn. II (1 sola)
Va. 1.
1-2 Vc. 3
Cb.
Why save her?!
364 accel. poco a poco
(accel.)
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
Tpt. in C
1 2
Tbn.
1 2
Timp. 1 2 3
Perc.
Synth.
E G
A
Harp
D F
(Count Almaviva lunges for the jewels.)
Marie Antoinette:
M.A. 3
What!
3
I am in no cent.
Susanna:
Susanna
Fi ga ro!
Figaro
3
3
spoiled,
ar ro gant,
de ca dent.
And
a trai tor to France.
3
Save your fam’ ly in
Louis
What an idea!
Figaro rebels against Beaumarchais!
Beau.
What!
accel. poco a poco
(accel.)
(1 solo)
I Vn.
cresc.
II (1 sola)
Va. cresc. unis., arco
div., arco
1-2 pizz.
Vc.
cresc.
pizz.
arco
3
2 soli, div.
Cb.
365
9
= ca. 108 (accel.)
= 112–120
= 1 Fl.
Flute
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. 1 2 3
Perc.
Synth.
G
Harp
(Figaro dodges him.)
M.A.
Why are you doing this to me? Count Almaviva:
Almaviva 8
I’ll
kill
him!
Figaro
stead. Louis
A theatrical revolution!
Brilliant! (yelling at the stage)
Beau.
Those are not my
= ca. 108 (accel.) (1 solo)
I’ll kill him!
words!
= 112–120 =
I Vn. II (1 sola)
Va. tutti, pizz.
1-2 3.
Vc.
tutti, pizz.
3-4 1., 2., div.
Cb.
tutti, pizz.
366
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
remove mute
2 remove mute
1 Tbn.
remove mute
2
Timp. 1 2 3
Perc.
(strings)
Synth.
Harp
(overlapping to Figaro)
M.A.
They
Woman with Hat: (applauding)
called
Woman w. Hat
Bra
vo!
Bra
vo!
Marquis: (applauding)
Marquis 8
Figaro
She’s a
vam
pire.
She’s a
vul
ture.
Beau. 1 solo
tutti, unis.
I Vn.
tutti, unis.
II 1 sola tutti, unis.
Va. 1., 2. arco
Vc. 3. 2 soli, arco
Cb.
tutti, pizz.
me
367
10
=
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
Tpt. in C
1 2 open
1 Tbn. 2
1 2 3
Perc.
Synth.
Piano
Harp
D
M.A.
that. Woman w. Hat
How cruel! Susanna:
Susanna
Lis ten to me! Marquis 8
What fun!
Figaro
What do
I
care
if
she
los es her head? Louis:
Louis 1 solo
He goes too far. tutti
=
I Vn.
pizz.
II 1 sola
tutti
pizz.
Va. 1., 2.
tutti (arco)
Vc. 3. 2 soli, arco
Cb.
tutti, pizz.
pizz.
368 = 1 2
Fl.
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 open
1 Tpt. in C
open
2
1 Tbn. 2
Timp. Xyl.
Perc.
1
Piano
Florestine:
Florestine
Fi
ga
ro!
Fi
ga
ro!
Fi
ga
ro!
Rosina:
Rosina Susanna:
Susanna Count Almaviva:
Almaviva 8
Give me the jewels!
Figaro
What pizz.
has the Queen
ev
er
pizz.
arco
arco
pizz.
arco
arco
pizz.
arco
pizz.
Vn. I gli altri
Vn. II
arco
Va. sola pizz.
arco
Va. le altre div., arco
1-2
Vc. div., arco
3-4 pizz.
Cb.
arco
for =
arco
Vn. I solo
(pizz.)
done
arco pizz.
369
11 1 2
Fl.
marc.
1 marc.
Ob. 2
marc.
1 Cl. in B
marc.
2 marc.
Bn.
1 2
Hn. in F
1 2
a2
a2
1.
a2
marc.
Tpt. in C
1 2
Tbn.
1 2
marc.
Timp. (strings)
Synth.
Piano
secco
Harp
Marie Antoinette:
M.A.
What have I done to deserve this?
Oh,
Florestine
Fi ga ro!
Fi ga ro
no!
Give him the
Fi ga ro!
Fi ga ro
no!
Give him the
Fi ga ro!
Fi ga ro
no!
Give him the
Rosina
Susanna
Almaviva 8
Give me the
jewels!
Beaumarchais:
Beau.
Who Figaro
Fi
ga
ro?
Vn. I solo Vn. I gli altri
Vn. II arco
Va. sola marc.
Va. le altre div., pizz.
arco unis., arco
1 2-3 Vc.
marc. pizz.
4 pizz.
div. 1, 2
Cb. gli altri
told
him
to
say
that?
370
1 Fl.
to Piccolo
Piccolo
2
1 2
Ob.
1.
Cl. in B
1 2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
(a2)
a2
1 Tbn. 2
Timp. Xyl.
Perc.
1
Synth.
Piano
Harp
M.A.
What
have
I
done?
Florestine
jewels!
Give him
the jewels!
Give him
the
jewels!
Give him
the
jewels!
Give him
the jewels!
Give him
the
jewels!
Give him
the
jewels!
Give him
the jewels!
Give him
the
jewels!
Give him
the
Rosina
Susanna
Almaviva
Give me
8
Beau.
tutti
Vn. I
Vn. II Va. sola
Va. le altre
Vc.
1-3
4 (div.)
Cb.
the
jewels!
Give me
the
jewels!
Give me
the
13
12
371
= 48
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.
Perc.
1 2 3 8va
(WHITE SOUND)
legato
Synth.
Piano
Harp
(All singers: a loud gasp)
(Figaro rushes out. Count Almaviva is too shocked to pursue him. There is a beat of silence.) (The curtains of the little stage close.)
M.A.
I thought you were my friend. But all this time you’ve hated me.
Figaro: (with wild abandon)
Thank you
(shouts)
Figaro
Down
with Ma rie An toi nette!
We will escape to London with the money from the Jewels!
Beau.
Close the curtains!
Antonia‌
= 48 tutti, free bows 8va
I Vn.
al sord.
div. a4, con sord.
legato
II tutti, div. a3, con sord. al sord.
slow, 1/4-tone oscillation
Va. al sord.
Vc. 1 solo, sul ponticello 3
Cb.
3
pizz. 3
372
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn.
molto
2
molto
1 Hn. in F
molto
2 molto
1 Tpt. in C 2 with straight mute
1 Tbn.
with straight mute
molto
2 molto
Timp. 1 2 3
Perc.
8
(remain in tempo until cut off)
Synth.
Harp
M.A.
for a splendid evening, Monsieur Beaumarchais.
I shall be at the pavilion…
Woman w. Hat
It’s only an opera…
Beau.
Please don’t go, I beg you.
I’m innocent… Don’t…
8
(remain in tempo until cut off)
I (div. a4)
Vn.
via sord.
II
(div. a3)
via sord.
div. a2, senza sord. (ord. vib.)
Va. div.
Vc.
Cb.
14
Aria Allegro agitato
373 = 144
1 Fl.
Flute
2
1 Ob. 2
1 Cl. in B
to Bass Clarinet
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Xyl.
1
Perc.
2 S.D.
3 (vc., cb., pizz.)
(vc., cb.)
Synth.
secco
Piano
Harp
(Marie Antoinette stops to hear Beaumarchais.) (shouts)
frantic, wild
Beau.
Wait!
Fi ga ro
Allegro agitato I
= 144
al sord. 0
div., senza sord.
Vn.
al sord.
II
0
Va. unis.
pizz.*
tutti, unis.
pizz.*
Vc. marc.
Cb. marc. *Do not accent groupings.
was sup posed to re turn the neck lace.
The Count
was sup posed to set you
374
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 remove mute
1 Tbn.
remove mute
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Beau.
free.
I Vn. II
Va.
Vc.
Cb.
The
child
ren
were sup posed to
mar
ry.
The
vil
lain
was sup posed to
die.
Slower
rall.
375
= ca. 76
15 1 Fl. 2
1 Ob. 2
Cl. in B
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 open
1 Tbn.
open
2
Timp.
1
Perc.
2
3
Synth.
Piano
(actual pitch)
Harp
dolce
rall. (ignore conductor) dolce
(
Beau.
You
3
were sup posed
to
)
flee.
I
Slower
rall.
risk my soul
= ca. 76
I Vn. II al sord.
Va. al sord.
Vc. arco
Cb.
al sord.
for you,
376
rall.
Slower
1 Fl. 2
1 Ob. 2
Cl. in B
3
3
3
3
1
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Vib., motor off 3
3
3
3
1
Pedal
Perc.
2 B.D.
3
Synth.
Piano
Harp
3
3
3
3
(Marie Antoinette starts to leave again.)
Beau. 3
An
to
ni
a.
Is
rall.
Slower
con sord. 3
3
3
3
I Vn.
unis., con sord.
II
con sord.
Va. arco, con sord.
Vc. con sord.
Cb.
div.
it
all
in vain,
An to
nia
All in vain?
377
16 Subito Tempo I 1 Fl.
to Piccolo
2
1 Ob. 2
Cl. in B
1 to Clarinet in B
Bs. Cl.
1 Bn. 2
1 Hn. in F
secco
2 secco
take straight mute
1 Tpt. in C
take straight mute
2
1 Tbn. 2
Timp. Xyl.
Perc.
1
(tutti orch.)
(tba., cb.)
Synth.
Piano
E FG A B C D
Harp
sub.
Beau.
Wait!
The Re vo lu tion nev er hap pens.
Subito Tempo I via sord.
There is
no
guil
lo
senza sord., sul ponticello
I Vn.
div.
tutti, unis., senza sord., sul ponticello via sord.
II
Va.
Vc. marc.
Cb.
via sord.
tine.
378
Picc.
Fl.
1
1 Ob. 2 3
3
3
3
1 Cl. in B
3 3
3 3
3
3
2 3
3
1 Bn. 2 3
1 3
3
Hn. in F
3 3
3
2 with straight mute
3
3
1 Tpt. in C
with straight mute
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
8va
8va
Harp
Beau.
3
3 3
A
new
age
dawns.
Po ver ty
3
is a bol ished.
3 3
3
3
Ed u ca tion is free. 3
I 3 3
Vn.
3 3
3
3
II 3
3 3
via sord.
senza sord. 3
3
3
3
Va. via sord.
senza sord.
3
Vc. 3 3
Cb.
3
379 rall.
Piccolo
=
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F
3
2 3
1 Tpt. in C 2
1 Tbn. 2
Timp. Glock.
Perc.
1
Synth.
Piano
8va
8va
Harp
dim.
Beau. 3
A
ca
nal
3
in
E
gypt!
A
to
wer
in
France!
Bal
rall. I Vn. II 3
3
Va.
Vc. 3
Cb.
3
loons
de li ver mail! =
380
17
Slower
Slower, Tempo II
rall.
= ca. 76
*
Picc.
Fl.
1 3
1 Ob.
3
2
1 3
Cl. in B
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
1 Bn. 2
1 Hn. in F 2 3
1 Tpt. in C 2
1 3
Tbn. 2 3
Timp.
Perc.
1 2 3
Synth.
Piano
Harp
Beau.
An to
nia
Slower *
I Vn. II
Va.
Vc.
Cb. *Suggested beating pattern: conduct in 2/2.
lives!
I
rall.
risk my soul
Slower, Tempo II
for you,
= ca. 76
381 rall.
Slower
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
3
3
3
3
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 take straight mute
1 Tbn.
take harmon mute
2
Timp. Vib.
1
Pedal
Perc.
2 B.D.
3
Synth.
Piano
3
3
3
3
Harp
Beau. 3
An
to
ni
a
Is
rall.
it
all
in
vain,
All
in
Slower
8va
solo
I gli altri
Vn. solo
II gli altri div.
unis.
Va. div.
Vc.
Cb.
unis.
vain?
382
18
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
O
1 Hn. in F 2 with straight mute
1 Tpt. in C 2 with straight mute
1 with harmon mute + *
Tbn.
(
2
+
O
)
+
+
O
Timp. Glock, with soft sticks ** l.v.
1 ** Crot. l.v.
Perc.
2 ** Vib.
3
Pedal 8va
(SLOW OBOE) **
Synth.
**
Piano
**
Harp
with growing excitement
very slow, as if in a trance
Beau.
Vast
(div.)
thea
ters
play
our
vi
sions.
Sa lons ring
8
I Vn. (div.)
II
Va. 1st stand
tutti 0
Vc. 0
Cb. *Slowly uncover then recover harmon mute so that the overtone series can be heard along with the fundamental tone. **Slow, even pulses. Do not synchronize with other players.
with un
heard of sounds.
383 accel.
to Flute
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 cresc. poco a poco
1 Hn. in F 2 cresc. poco a poco
1 Tpt. in C 2
1 Tbn.
take straight mute
2
Timp. (Glock.)
1 (Crot.)
Perc.
2 Vib.
3
8va
Synth.
Piano
Harp
Beau.
And‌ there (div.) 8
I cresc. poco a poco
(div.)
Vn. II cresc. poco a poco div.
Va. cresc. poco a poco 1st stand
Vc.
gli altri
cresc. poco a poco pizz.
Cb.
are
accel.
new
fa
brics
dyed
in un be liev a ble
co
lors,
384
19 Tempo II
= ca. 76
1 Flute
Fl.
to Piccolo
2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C
with straight mute
2
1 Tbn.
with straight mute
2
Timp. Sus. Cym.
1 molto
Perc.
2 (Vib.)
3
(hns., tbns., bns.)
Synth.
Piano
D
Harp
Beau.
3
And
new kinds of ros es,
Tempo II
tu lips,
or
chids,
And
new in dus tries, Pow ered by
wind,
= ca. 76 unis.
I marc.
Vn.
unis.
II marc. unis.
Va. marc. tutti, unis.
div.
unis.
div.
Vc. arco
Cb.
div.
wa
ter,
385
Slow, as before Piccolo *
20
Picc. *
Fl.
1
1 Ob. 2
1 Cl. in B 2 a2
Bn.
1 2 legato fltg.
1 Hn. in F
fltg.
2
fltg.
1 Tpt. in C
fltg.
2
a2
Tbn.
1 2
Timp. Crot.
1 Xyl.
Perc.
2 Small Tamtam
3
Synth.
Piano
Harp
Beau.
sun
light!
Slow, as before
I marc.
Vn. II marc.
Va. marc.
Vc. marc.
Cb. marc. *Overblow to articulate harmonics. Shape of passage should resemble squiggly lines.
legato
And
386
Picc. 5:4
Fl.
1
1 5:4
Ob. 2 5:4
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Crot. l.v.
1 5:4
Vib.
Perc.
2 Glock. l.v. Pedal
5:4
3
(SLOW OBOE)
Synth.
8va
Piano
A B G
Harp
Beau.
new sci en ces
Mes mer
is
m,
mag ne tis m,
e lec tri
ci
ty!
And
An 8va
I Vn. II
Va.
Vc. al sord.
Cb.
387 Tempo II
rall.
= ca. 76
Picc. simply
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. Crot.
1
Perc.
2
3
Synth.
8
Piano
Harp
poss.
poss.
Beau.
to
nia
rall.
lives!
His to ry
Tempo II
= ca. 76
8
al sord.
I poss.
Vn. al sord.
II poss.
Va. poss.
Vc. poss.
Cb.
as it
388
21 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
3
3
3
3
3
3
dolce
3
3
3
3
2 dolce
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:
3
3
3
3
3
3
3
3
3
3
dolce
M.A.
As
it
should have
been. dolce
Beau.
should have
been.
I
do
div. a3, con sord.
I Vn.
1-2 3-4 5-6
div. a3, con sord.
II
al sord.
Va. al sord.
con sord.
Vc. dolce
Cb.
this
389
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
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
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
spoken
Beau.
out
of
love
for you,
all
em
brac
ing
love
for you,
An
to
ni
a.
I will save you. 8va
(div. a3) unis.
I Vn.
(div. a3)
II
Va.
Vc. con sord.
Cb.
390
22 = ca. 48–50
stagger breaths
*
1 Flute stagger breaths
Fl. to Flute
poss., legatissimo
2 poss., legatissimo
1 Ob. 2 stagger breaths
1 poss., legatissimo stagger breaths
Cl. in B 2
poss., legatissimo
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Vib., with softest sticks
1 blur Pedal
Perc.
2
3
legato
Piano
sempre Marie Antoinette:
M.A.
What are you doing?
Don’t! Louis:
Louis
Sensational! Beau.
I will force Figaro to return the necklace.
The
= ca. 48–50 free bows (con sord.) *
I legatissimo unis., free bows (con sord.)
Vn.
II legatissimo (con sord.)
Va. legato
(con sord.)
Vc. legato
Cb. *Conductor cues one beat per measure. The slight misalignments that will occur are intended to blur the texture.
391
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
M.A.
Stop him! Woman with Hat:
Woman w. Hat
What an effect! Marquis:
Marquis 8
A coup de
Beau.
Count will rescue her.
I Vn. II free bows (con sord.)
Va. legatissimo
Vc.
Cb.
392 *
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
(Beaumarchais passes through the closed curtains of the little stage. They glow and then become transparent. The opera characters are frozen exactly ni the same positions they were in before the curtains closed. They reanimate as the lights come up on them.)
M.A.
No! Change the past and you will lose your power. Marquis 8
thÊâtre.
Beau.
I will enter the opera.
I Vn. II
Va.
Vc. (con sord.) senza vibrato
Cb. *The activity on the little stage may occur earlier. If so, fade pit orchestra to niente in the next 2-3 beats, wherever they happen to be.
23
393
Scene 2
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.
(HARPSICHORD UNTIL 31 ) 3
3
3
3
3
3
3
Synth.
3
33
3
3
3
Harp
3 3
3
Susanna 3
(to Susanna) 3
I don’t know where he
(to Woman w. Hat)
went.
3
Almaviva 8
Damn that Fi ga ro!
He’s your
hus band.
You
find him.
(To Marquis)
Woman w. Hat
He’s looking for Figaro M.A.
Marq. 1 solo 3
I Vn. II 1 sola
Va. 3
1 solo
1 3
1 solo
Vc.
2 3
1 solo
3 3
Cb.
Well, where’s Beaumarchais?
394
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.
Harp
(to Rosina and Florestine)
Almaviva 3
8
Find
him,
3
or
3
3
I’ll throw you
out.
Come,
Woman w. Hat
M.A.
It’s not Susanna’s fault. Beau. (1 solo)
I Vn. II (1 sola)
Va.
1
Vc.
2
3 1., 2. unis., pizz.
Cb.
3
3
we have to pre pare for the ball
3
to
night.
395
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
(Count Almaviva and Florestine exit.) Susanna:
dolce
Susanna
On
Rosina:
Rosina 3
I’ll be a 3
Almaviva 8
3
3
It looks as
if
3
this will be the last
one.
I Vn. II
Va. (3 soli, div.)
Vc.
(2 soli, div.)
Cb.
3
long in
a
mo
ment.
my
moth er’s
396
24 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
Susanna 3
3
grave.
I
3
swear I
don’t know where he
is.
3
Rosina 3 3
My dear Almaviva 8
I Vn. II
Va.
Vc.
Cb.
lit
tle Su san
na
I
be
lieve
you.
My hus band is gross ly
un
397
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
3
3
3
Susanna
And mine is
too.
He
gets us both in to trou ble and then runs a way,
leav ing me to deal with the Count.
Rosina
fair
I Vn. II
Va.
Vc.
Cb.
Mine was al ways dif fi cult,
but now he’s im
398 = ca. 58
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
3
3
3
3
Susanna
Mine used to be
gen tle.
But what’s the use of com plain ing? 3
Rosina
pos si ble.
Mine used to be
lov
ing.
Time
rall. 1 solo (con sord.)
I Vn. II 1 sola (con sord.)
Va. (con sord.)
1 (con sord.)
Vc. soli
2 (con sord.)
3 2 soli (con sord.)
Cb.
chan ges
= ca. 58
all.
Duet
399
25 Andante ( = ca. 58) 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 dolce
Susanna
As
sum
mer
Andante ( = ca. 58) I (con sord.)
Vn. II
(con sord.)
Va. div. (con sord.)
Vc. pizz. (con sord.)
Cb.
brings
a
wist
ful
breeze,
400
1 Fl. 2
1 Ob. 2 3
1 legatissimo
Cl. in B 3
2 legatissimo
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
Susanna
Cool
ing
hous
es,
blow
ing
trees,
wo
(sord.) div.
I Vn. II
Va. unis.
Vc. arco
Cb.
men
dream
their
401
1 Fl. 2
1 Ob. 2 3
1 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
dolce
Rosina
As
aut
umn
Susanna
bri
dal
days
I Vn. II
Va.
Vc. div. half arco half pizz.
Cb.
brings
its
win
dy
chill
and
402
26 1 Fl.
to Piccolo
2
1 3
3
3
3
3
3
3
3
3
3
3
3
Ob. 2 3
3
3
3
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.
Perc.
1 2 3
Synth.
Piano
Harp
Rosina
wa
ter
free
zes
on
the
hill,
wo
men
Susanna
I Vn. II div.
Va.
Vc. unis., arco
Cb.
love
and
403 Piccolo
27
Picc.
Fl.
1
1 Ob. 2 optional
1 Cl. in B
optional
2
Bn.
1 Contrabassoon
Cbn. con sord.
1 Hn. in F
con sord.
2
1 Tpt. in C 2 (with straight mute)
1 Tbn.
(with straight mute)
2
Timp.
Perc.
1 2 3
sim.
Synth.
E FGA B CD
Harp
sim.
espr. Rosina
hate
their
men,
wish
ing
they
were young a
gain.
Susanna
solo
I Vn. II
sola
Va. le altre
1
Vc.
2
3
1 Cb. 2
O
time,
o
time,
404 rall.
=
a tempo
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.
G
Harp
D
Rosina
O
thiev
ing
time,
Give
me
back
my
sto
len
years.
Susanna
As (solo)
=
rall.
a tempo
gli altri
win
ter
tutti
I Vn. II le altre (sola)
tutti
Va. (sola)
1
Vc.
2
3
1 Cb. 2
405
Picc.
Fl.
1
1 3
3
3
3
3
3
3
3
3
3
Ob. 2 3
3
3
3
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
Perc.
2
3
Synth.
Piano
Harp
Rosina
Susanna
brings
a
long
er
night,
And
wom div.
I Vn. II
Va.
Vc.
Cb.
en
read
by
can
dle
406
28
to Flute
Picc.
Fl.
1
1 3
Ob. 2 3
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
Perc.
2
3
Synth.
Harp
Rosina
They
come
to
know,
like
sun,
like
rain,
noth
ing
They
come
to
know,
like
sun,
like
rain,
noth
ing
Susanna
light,
unis.
I Vn. II div.
unis.
Va.
1
Vc.
2 tutti
3 pizz.
1 Cb.
2. (arco)
2-3
407
29
=
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2 with straight mute
1 Tbn.
with straight mute
2
Timp.
Perc.
1 2 3
Synth.
sim.
Harp
sim.
espr. Rosina
lasts,
not
love
or
pain.
time,
O
o
time,
o
thiev ing time,
o
time,
o
thiev ing time,
espr. Sussana
lasts,
not
love
or
pain.
O
time,
solo (solo)
I Vn. II sola (sola)
Va. solo
1 solo
Vc.
2 solo
3 arco, solo
1 Cb.
solo
2
=
408 = 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 3
Tpt. in C
3
with straight mute
2 3
1 2
Tbn.
Tba.
Timp.
Perc.
1 2 3
Synth.
G
Harp
A
G
D
A
3
Rosina
Give me
back my
sto
len
years.
Give me
back my
sto
len
years.
O
3
time,
O
time,
O
thiev ing
time,
O
thiev ing
time,
Susanna
(solo)
I Vn. II (sola)
Va. (solo)
1 (solo)
Vc.
2 (solo)
3 (solo)
1 Cb.
(solo)
2
O
time,
O
time,
=
409 Slower
rall. 1 Fl.
Flute
to Piccolo
2
1 Ob. 2
1 Cl. in B 2
Bn.
1 to Bassoon
Cbn.
1 Hn. in F 2 remove mute
1 Tpt. in C
remove mute
2
1 Tbn. 2
Timp. 1 2 3
Perc.
Synth.
non arp.
(sim.)
D
Harp
G
M.A.
My
sto
len
years.
Rosina
Give
me
back
my
sto
len
years.
Give
me
back
my
sto
len
years.
Susanna Louis: (spoken)
Louis
rall. (solo)
Oh let her go.
Slower
tutti, div.
I Vn. II (sola)
le altre
tutte
Va. (solo)
1 (solo)
Vc.
2 (3. solo)
tutte
3-4 (solo)
1 Cb.
(2. solo)
2-3
tutte
410
30
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
(The women embrace and kiss each other on the cheek.) (Rosina exits.) 3
3
Rosina
And now I must go. 3
(spoken)
(gasp)
3
3
3
3
Susanna
Bless you, ma dam,
bless you. What a kind woman. Ha! (Immediately, Figaro enters through a window.)
Where were you?
That’s what you said the
Figaro: (Looking over his shoulder.)
Figaro 3
Quick, I Vn. II
Va.
Vc.
Cb.
hide me!
3
I
was fol lowed
411
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 Bell Tree
3
3
Synth.
3
Piano
Harp
(Beaumarchais suddenly appears from nowhere behind Figaro’s back.) 3
3
Susanna
last time.
I don’t be
lieve you.
O
my
God, how did he get in?
It’s witch craft!
Figaro 3
3
It’s true.
That’s him!
Louis:
Louis
Oh, there he is. senza sord. 1 solo
I Vn. II senza sord. 1 sola
Va. senza sord. 2 soli a2
Vc.
Cb.
div.
Who
are you, sir?
412
31 In tempo ( = ca. 120)
accel.
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. Bassoon
2
1 Hn. in F 2 open
1 Tpt. in C
open
2
1 Tbn. 2
Timp.
1 2 Perc.
B.D.
3
(BRASS)
Synth.
Piano
Woman with Hat: Woman w. Hat
They don’t believe him. Beau.
I
am
your
cre
a
tor.
Re turn
the
neck
lace!
Susanna 3
(falsetto)
Do as he says. (ord.)
Figaro
In tempo ( = ca. 120) div. (senza sord.)
I div.
Vn.
senza sord.
II (senza sord.)
Va. (senza sord.)
Vc. senza sord.
Cb.
unis.
And
I’m
the Queen of
France!
Nev er!
accel.
413 accel. poco a poco
Piccolo
Picc. harsh
Fl.
1 harsh *
1 Ob.
*
2
1 Cl. in B
2
1 Bn. 2
Hn. in F
1 2
Tpt. in C
1 2 ** fluttertongue
1 Tbn. 2 2 lowest Timpani tuned below usual pitch level. (one player)
Timp. Xyl.
1 Anvil
Perc.
2 B.D.
3
Synth.
*
8va
Piano
8va
Harp
(Beaumarchais steps towards them, glowing eerily. Figaro and Susanna back off to the door.)
Beau.
How dare you argue with me? You do not exist.
You are my fantasy!
You can’t es
cape!
M.A.
Fi Susanna
I’m
frigh
tened.
ossia
Run!
Figaro
accel poco a poco
3
He’s mad.
Run! 8va
*** unis.
non vib.
I sub.
Vn.
unis.
non vib.
II sub. (loco)
non vib.
Va. sub.
Vc.
Cb.
* cresc. poss., cut off abruptly before next downbeat. ** Ossia: Tbn. 1 play E if Figaro takes lower note. *** Ossia: play harmonic
414
32 1
Fl.
to Flute
2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 take whispa mute
1 Tpt. in C
take whispa mute
2 take whispa mute
1 Tbn.
take whispa mute
2
Timp.
1
Perc.
2
3
Synth.
rall.
poco
a
poco
to
a
stop.
8va
Piano
(Beaumarchais recognizes Marie Antoinette.)
M.A.
ga
ro.
Fi
ga
ro.
Fi
ga
ro.
Fi 3
Susanna
Who is that call ing? Beau.
Stop!
We must save the queen.
The neck lace!
Figaro
We must save our selves!
8va
No!
I Vn. II
Va.
Vc. sub.
rall. tremolo
poco
a
poco
to
a
complete
stop.
sub.
rall. tremolo
poco
a
poco
to
a
complete
stop.
Cb.
415
**
33 Passacaglia ca. 3 seconds
8
*
8
*
8
*
8
= ca. 50
*
1 Fl.
Flute
2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 open
1 Hn. in F
cresc.
with straight mute
2 with whispa mute
1 Tpt. in C
with whispa mute
2 with whispa mute
1 Tbn.
with whispa mute
2
Timp. 8
* Vib.
Perc.
1
Synth.
Piano
Harp
(Beaumarchais takes Figaro by the hand.)
(A large scrim descends, which slowly becomes opaque. It serves as a projection screen for the scenery of the Temple of Love, from the Petit Trianon.)
(Beaumarchais and Figaro disappear.) ***
M.A.
ga
ro.
Fi
3
ga
ro.
Fi
ga
ro.
Susanna 3
Black ma gic.
dolce
Where is he?
Where are they?
(Horn enters)
What is happening?
Beau.
Come
with
me.
No!
Figaro 3
More tricks
8va
ca. 3 seconds
= ca. 50 al sord.
I Vn.
al sord.
II al sord.
Va. al sord.
Vc. al sord.
Cb. * Slow, legato, chromatic, non–aligned figures between the indicated pitches. ** During the "journey", we see the shadows of Figaro and Beaumarchais slowly moving upwards, as if in a dream. Their images occasionally disappear and distort during this interlude, much like smoke. *** The orchestra may begin performing the material at rehearsal number 33 here.
416 8
8
8
8
8
1 8
8
8
8
8
8
8
8
8
8
8
8
Fl.
to Piccolo
2 solo
1 legato
Ob. 2
8
8
8
8
8
8
8
1
8
Cl. in B
8
8
2
8
1 8
Bn. 2
straight mute
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. 8
(Vib.)
8
8
8
8
1
Perc.
2
3
(strings)
Synth.
Piano
una corda sempre
M.A.
Figaro
div., con sord.
Vn. I
1-2 3 4-5 6
div. a4 1-2 3 4-5 6
con sord.
div.
Vn. II 1-2 1/2 step cluster 3 4
Vn. II 3-6
5-6 8
liquid div., con sord.
Va. liquid
div., con sord.
Vc. con sord.
1
Cb. 2-3
417 Piccolo, solo to Flute
Picc. 3
serene
Fl.
1
1 Ob. 2 8 8
8
8
8
8
8
8
8
8
8
8
1 8
Cl. in B
8
8
2
1 Bn. 2
1 Hn. in F
serene
2
1 Tpt. in C 2
1 Tbn. 2
Timp. 8
(Vib.)
8
8
8
8
8
8
8
1
Perc.
2
3
Synth.
Piano
Harp
(Beaumarchais, Susanna, and Figaro enter the ghost world. Figaro and Susanna move slowly, like somnambulists, looking around in wonder. Marie Antoinette stands in front of the temple, summoning Figaro.)
M.A.
Figaro
(div. a4)
I Vn.
1-3 4-5 6
div. a3 1-4
1-3 4-5 6
div. a3
5-6 (div. a4)
II
div. a2
1 2-3 4-6
1-3 4-6
Va. (div.)
Vc. (div.)
Cb.
div. a2
unis.
div. a3 1 2-3 4-6
418
34
Scene 3
accel.
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
Marie Antoinette:
M.A.
Fi
ga
ro.
Ap
proach.
Fi
ga
ro.
I
am your
queen.
To save my
Susanna:
Susanna
Be careful…
Figaro:
Figaro
It is black magic.
Who are you?
Impossible. She’s on trial this very moment. Why have you brought me here?
accel. div. a3
(div. a3) div. a2
I Vn.
(div. a3)
div. a2
II div.
Va. (div.)
Vc. div.
Cb.
div. a3
419 (accel.)
rall.
1 Fl. 2
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. Xyl.
1 B.D.
Perc. 3
sub.
Synth.
Piano
8ba
Harp
(to Beaumarchais)
M.A. 3
life.
Re turn the
jew els.
Beau mar chais, prove to him I’m in no cent.
Show him the trial of the queen
Figaro (div. a3)
You are an evil spirit.
(accel.)
I
You are a monster. 1-2 3-4 5 6
div. a4
rall. 1-3 4-5 6
div. a3
sub.
Vn.
(div. a3)
II
1 2 3-4 5-6
div. a4
div. a3
sub.
1 2-3 4-6
sub.
1-3 4
(div.)
Va. (div.)
Vc. sub. (div.)
unis.
Cb. sub.
of
420
35
(quick beat) Flute 2 to Piccolo
Fl.
1 2
Ob.
1 2
1 Cl. in B 2
Bn.
1 2
Hn. in F
1 2
remove mute
= ca. 96 with harmon mute
take straight mute
1 Tpt. in C
3
3
3
3
take straight mute
with harmon mute
2 3
3
3
3
take straight mute
1 Tbn.
remove mute
2 Xyl.
1 = ca. 96 * S.D. (line up with Trumpets)
Perc. 2
3
3
Synth.
Piano
E F GA BCD
Harp
(With a gesture Beaumarchais changes the projection to that of the Revolutionary tribunal, in the Palace of Justice. The enormous hall is lit only by two candles. We can barely see the unruly citizens who have come to enjoy the spectacle. The ghosts enter, dressed as the judges, jury, soldiers, and witnesses. Beaumarchais puts on a wig assuming the role of the Public Prosecutor. He carries a heavy walking stick. Marie Antoinette plays herself.
M.A.
France.
Rev. Women
= ca. 96 Revolutionary Women:
molto
An
3
3
3
toi nette, we want your head! molto
An
3
3
3
toi nette, we want your head!
Citizens: (ad lib. shouts and general noise)
Citizens
1. Long Live the republic! …etc. 2. Down with the monarchy! …etc. 3. Kill the aristocrats! …etc. Beaurmarchais: (bangs 2 times with stick)
Beau.
Order! Order! (div. a3)
Order!
(quick beat) al sord.
I Vn.
(div. a3)
al sord.
(div.)
al sord.
II
Va. (div.)
Vc.
Cb. *Snare Drum begins playing when Marie Antoinette is in place center stage in box.
421
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.) 8va
1
Perc.
2 B.D.
3
Synth.
8va
Piano
8va
l.v.
Harp
M.A. angry
Beau.
Be hold:
a
wom an who for mal
I Vn. II
Va.
Vc. non div.
Cb. sempre
ly pos sessed all the
glo
ry
that the pomp of kings could in
vent now
oc
cu
pies the
tri
bu
nal.
422
Piccolo
Picc.
Fl.
1 N
O
N
O
N
1 Ob. 2
1 Cl. in B 2
1 legato
Bn. 2 legato
1 Hn. in F
legato
2 legato
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Synth.
Piano
Harp
(ad lib. shouts and general noise)
Citizens
1. Hange her royal neck! 2. To the scaffold with her! Beau.
Let no one say she did not reap the be ne fits of the peo ple’s jus tice.
I Vn. II
Va.
Vc.
Cb.
3. Look at her now! 4. You reap what you sow!
423 (quick beat) Picc. *
Fl.
1
1 Ob. 2 *
1 Cl. in B 2
1 Bn.
to Contrabassoon
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Xyl.
1
Perc.
2
3
8va
Piano
8va
Harp
Citizens to Marie Antoinette shouted
Beau.
Silence!
What is your name?
(quick beat) I Vn. II
Va. players 3-4 (senza sord.) ** 1/4 tone oscillation
Vc. con sord.
Cb. *Clarinet starts right after Flute. Do not synchronize. **Hold open G and at the same time, oscillate A slowly 3/4 tone down and back.
player 2
424
Picc.
Fl.
1
1 Ob. 2 legato
1 Cl. in B
legato
2
Bn.
1 legato
Cbn.
1 Hn. in F
legato
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Piano
Harp
even
M.A.
Ma
rie
An
toi nette of
Lor raine and Aus tri
a,
wife
of
Lou
is
Ca pet, once King of the French, thir ty eight years of
age. * (shouted ad lib.)
Citizens
1. Kill her! 2. Kill the Austrian! 3. Make her pay with her blood! Beau.
div. a2, con sord.
(1/2 step trill)
via sord.
I Vn.
div. a2, con sord.
(1/2 step trill)
via sord.
II div. a2, con sord.
(1/2 step trill)
via sord.
Va. con sord.
(1/2 step trill)
via sord.
1-2 Vc. 3-4 (1/2 step trill)
Cb.
* Citizens’ text not orderly.
via sord.
425
Picc.
Fl.
1 N
O
N
O
N
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. Xyl.
1
Perc.
2
3
Synth.
Piano
E
Harp
M.A.
Citizens
I Vn. II
Va.
Vc.
Cb.
426
36
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
to Bass Clarinet
2
Bn.
1 Contrabassoon *
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn.
*
2
Timp. (Xyl.)
1
Perc.
2
3 * (tbn., cbn.)
Synth.
8va
Piano
Harp
M.A.
Beau.
Wi
dow
Ca pet,
do
you think that kings are
I Vn. II
Va.
Vc. senza sord. unis., senza vib.
Cb.
*Ad lib. indicated dynamics on given pitch. Pause 1 or 2 seconds between playing each time.
ne ces sa
ry
to
the
hap
pi
ness
of
France?
427
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1 legato
Bs. Cl.
Bn.
1 legato
Cbn.
(o - - + - - o) ad lib., asynchronous
1 legato
Hn. in F
(o - - + - - o) ad lib., asynchronous
2 legato
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
Synth.
8va
Piano
E F G
Harp
3
M.A. 3
That is
not for me to de cide.
My
on ly de sire
is
the hap pi ness of France. Men: (shouted, plus laughter and jeers)*
Citizens
1. Make her bleed… that’ll make me happy! 2. Give her to me… She can make me happy! 3. Antoinette, you want to make me happy? unis., senza sord.
I cold unis., senza sord.
Vn. II
cold unis., senza sord.
Va. cold
Vc.
Cb. *Citizens’ text, specifically assigned, is shouted in order. Conductor waits for “Make me happy?”
428 senza vibrato
Picc. icy
Fl.
1 senza vibrato
1 Ob.
icy
2
Cl. in B
1 senza vibrato
Bs. Cl. icy
Bn.
1 senza vibrato
Cbn. icy
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn.
take straight mute
2
Timp. Xyl.
1
Perc.
2
3
8
Piano
(opt. 8va)
E G F
Harp
M.A. Beaumarchais:
I
spent more than I wished but let the truth come to light,
Beau.
Wi dow Ca pet, you are charged with squan der ing e nor mous sums for your plea sures and in trigues. div. a3
1-3 4-5 6
I Vn.
espr.
1 2-3 4-6
div. a3
1-2
div.
II espr.
Va. 3-4
espr. div., senza sord.
1-2
Vc. 3-4
espr. 1
div.
Cb. 2-3
espr.
429 senza vibrato
Picc. icy
Fl.
1 senza vibrato
1 icy
Ob. 2
Cl. in B
1 senza vibrato
Bs. Cl. icy
Bn.
1 senza vibrato
Cbn. icy
stopped
1 Hn. in F
stopped
2
with straight mute
1 Tpt. in C
with straight mute
2 with straight mute
1 Tbn.
with straight mute
remove mute
2
Timp. (Xyl.)
1
Perc.
2
3
Piano
Harp
(Beaumarchais cuts off Marie Antoinette.)
(passionate)
M.A.
I‌
No!
I loved
my hus band! I
loved
France! Citizens:
Citizens
Laughter and catcalls Beau.
and
com mit ting trea son with your broth er,
the
Em
per
or
of
Aus tri a. div. a2 1-4
I 5-6
Vn. 1-2
intense div. a2
II 3-6
intense (div.)
Va. intense (div. a2) 1
Vc. 2-4
Cb.
intense
430
Picc.
Fl.
1
1 legato
Ob. 2 legato
Cl. in B
1 **
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F
**
open
2 (with straight mute)
1 legato
Tpt. in C
(with straight mute)
2 legato
(with straight mute)
** 1 Tbn. 2
Timp.
1 Ten. Dr.
Perc.
2 B.D.
3 (STRINGS)
Synth.
*
(Sprechstimme above the din)
M.A. 3
I tried to bring peace.
Revolutionary Women:
Rev. Women 3
3
A
chop, chop, chop, The guil lo
3
tine
is
work ing o
3
3
3
ver time.
3
3
3
Ka thump,thump, thump,The heads are roll ing, Pour ing out their
ros
y
wine.
Ten. Dr.
Perc.
Citizens (Sprechstimme above the din)
Beau.
You
are re spon si ble
for
the out break
(div.)
I Vn.
(div.)
II (div.)
Va. (div. a2)
Vc. unis., non div. 0
Cb. *Citizens mezzo-forte, Beaumarchais and Marie Antoinette in Sprechstimme above the din. **Ad lib. indicated dynamics on given pitch. Pause 1 or 2 seconds between playing each time.
of
war.
You
tried
to cor rupt and
431
37 294
Piccolo
Picc.
Fl.
1
N
O
N
O
N
1 Ob. 2
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
O
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn.
open
2
Timp. (Ten. Dr.)
Perc.
2
Synth.
M.A.
No! Rev. Women 3
Come,
march,
3
we’ll
slaugh
3
ter the
haugh
ty
witch.
ment
of
Flan
Join
(Ten. Dr.)
Perc.
Citizens
Beau.
in
I Vn. II
Va.
Vc.
Cb.
tox
i
cate
the
re
gi
ders
us,
We’ll
432
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1 to Clarinet in B
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2 open
1 Tbn. 2
Timp.
1 (Ten. Dr.)
Perc.
2
3
Synth.
(Marie Antoinette reacts to the accusations.)
M.A.
Lies!
3
Lies!
Rev. Women 3
butch
er
the
bitch.
A -
Perc. 3. Mezzo-soprano 2. Soprano
*
3
She gave
Citizens
feasts
3
and
or
gies.
She slept with
ev’
1. Tenor
8
ry
one. 1. Tenor
3
3
She got
3
me
drunk.
Beau.
I Vn. II
Va.
Vc.
Cb. *Vocal lines of citizens ad lib., though assigned specifically to members of the ensemble. Other citizens continue whistles and catcalls.
3
She got
me
433
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
Clarinet in B
2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2 1 2 3
Perc.
Synth.
Piano
Harp
M.A.
Lies! Rev. Women
Perc.
*
others: “Whore” …“Slut!” …“Adulteress!” ¡ etc.
Citizens
8
drunk.
others: “Whore” …“Slut!” …“Adulteress!” ¡ etc.
I Vn. II
Va.
Vc.
Cb. *Singers 1., 2., and 3. repeat ad libitum, asynchrounously and overlapping.
434 to Flute
Picc. poss.
Fl.
1 poss.
1 Ob. 2
1 Cl. in B 2
Bn.
1 to Bassoon
Cbn.
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
remove mute
Timp. Xyl.
1
Perc.
2 B.D.
3
Synth.
8va
Piano
Harp
(Marie Antoinette does not reply.)
M.A. (after a beat of total silence) shouting
Figaro (Beaumarchais bangs the floor with his staff.)
For God’s sake. Leave her alone!
Beau.
And
fi nal ly, There is no doubt that there has been an act of in
cest
be tween you and your son,
se ven years old.
The ac
8va
unis.
I senza vibrato
Vn. unis.
II
Va. senza vibrato
Vc. senza vibrato
Cb.
(senza vibrato)
435
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
slowly
M.A.
If
I
did not re
ply,
it was be cause my na ture
can not ans wer such a
charge.
Beau.
cused does
not
re
ply.
The court demands an answer! div., senza vibrato
I div., senza vibrato
Vn. II senza vibrato
Va.
Vc.
Cb.
436
38
= 60
1 Fl. 2
1 2
Ob.
1 Cl. in B 2
1 Bn. Bassoon
2
slow, even gliss.
1 Hn. in F
slow, even gliss.
2 open
1 Tpt. in C
open
2 slow, even gliss.
1 Tbn.
slow, even gliss.
2
Timp.
1 2 Perc.
B.D.
3
(BRASS)
Synth.
(She stands and turns to the citizens.)
M.A. 3
I
ap
peal
to
all
moth ers
in the court room!
= 60 div.
1-4 Vn. I
div.
5-6 div.
1-2 Vn. II
div.
3-6 div.
1-2 Va.
div.
3-4 div.
1-2 Vc.
div.
3-4
Cb. 0
Faster, (a2)
Fl.
1 2
Ob.
1 2
437
= 75 Flute 2 to Piccolo
1.
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
Synth.
Piano
8ba
8ba
8ba
8ba
Harp
*
M.A. 3
Witnesses
Faster,
= 75
She had a packet of hair of different colors.
1-2
Vn. I 3-4 div.
5-6
1
2 Vn. II 3-4
5-6
1-2 Va. 3-4
1-2 Vc. 3-4 div. a3, pizz.
Cb. *Orchestra is not synchronized with the stage action. Singers take their cues from each other.
3
They
come
from
my
dead
and
liv
438
Piccolo
Picc.
Fl.
1
Ob.
1 2
(1.)
1 Cl. in B 2
1 Bn. 2
Timp. (S.D.)
1 (Ten. Dr.)
Perc.
2 (B.D.)
3
Piano
8ba
8ba
8ba
8ba
8ba
Harp
8ba
3
3
3
M.A.
ing child
ren
and
from my
hus
band. 2.
I
Witnesses
And a page with ciphers on it
8va
1 8va
2 8va
Vn. I 3-4
5
6
1
2
Vn. II 3
4
5-6 (div. a4)
Va.
Vc. (div. a3)
Cb.
was
teach
ing
my
son
439 (first time only)
Picc. Fl.
1
Ob.
1 2
Cl. in B
2
(2.)
1 Bn.
2
* 1 Hn. in F
* 2 * 1
Tpt. in C
* 2 * 1
Tbn.
* 2
Timp. (S.D.)
1 (Ten. Dr.)
Perc.
2 (B.D.)
3 * (brass)
Synth.
Piano
8ba
Harp
8ba
M.A.
to count.
My moth er.
No, I’m innocent. etc.
Witness 1
Her mother was a cow! (mocking) Witness 2
Ma ma,
ma ma.
(“moo” like a cow)
Witness 3
A gold ring.
Moo,
Witness 4
A looking glass. Witness 5 div. a6 8
A portrait of a woman.
I div. a5
Vn. II div. a4
Va. arco, div. a4
Vc. div. a3
arco
Cb. * Ad lib. indicated dynamics on given pitch. Pause 1 or 2 secs. between playing each time.
moo.
440
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2 *** cresc.
1 *** cresc.
Bn. 2
*** cresc.
Hn. in F
1 2 *** cresc.
1 2
Tpt. in C
*** cresc.
1 2
Tbn.
*** cresc.
Timp. *** cresc.
(S.D.)
1 *** cresc.
(Ten. Dr.)
Perc.
2 *** cresc.
(B.D.)
3 *** cresc.
*** cresc.
Synth.
*** cresc.
Piano
*** cresc.
Harp
= ca. 96
molto (ending up shouting more than singing and becoming more and more audible)
**
Rev. Women 3
3
An
toi nette,
3
we
want
your head!
molto ad lib.
Witness 1
ruff. ruff. ruff.
ruff.
ruff. ruff.
ruff.
ruff. ruff. ruff.
molto
ad lib.
Witness 2 molto
Baaaaaah.
ad lib.
Witness 3 molto ad lib.
Witness 4 8
oooh
whip.
oooh
whip.
molto ad lib.
Witness 5
oink. oink.
oink.
oink.
oink.
I *** cresc.
Vn. II
*** cresc.
Va. *** cresc. *
Vc. sub. *
Cb. sub. *On conductor’s left hand cue, change from cluster to rapid marcato lines between and including indicated pitches. **Conductor cues Revolutionary Women using left hand, but they sing in their own tempo ( = ca. 96.) Animal noises continue. Wait until after the bird sound (Witness 4), then all animal sounds at once with orchestra cresendo. ***On conductor’s left hand cue, begin crescendo.
441
39 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 molto
Tbn.
take harmon mute
2
molto
Timp.
1
Perc.
2
3
Piano
Harp
Marie Antoinette: (cut-off)
M.A. Beaumarchais: (pounds walking stick)
The ac cu sa tions are un(walking stick)
Beau.
Wi dow Ca pet,
you are the de clared en e my of the French na tion. Do you have an y thing to say in your de fense?
Silence, bloodsucker!
I Vn. II
Va.
Vc. 1 solo, non vib.
Cb.
like a roar) 2 soli, div., non vib.
molto
like a roar)
molto
442
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
+ - - - o - - - + - - - o - - - + (etc.)
1 Hn. in F
+ - - - o - - - + - - - o - - - + (etc.)
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
Harp
Figaro
No! No! Unjust! This trial is unfair! Set her free! Beau.
What
is
the judge ment
of
the
peo
ple
of
France?
= 80 dolce
(The Jurors ignore Figaro.)
Juror 1
Yes,
to
all
ques
tions.
to
all
ques
tions.
to
all
ques
tions.
to
all
ques
tions.
In ac cor dance with the
dolce Juror 2
Yes, dolce Juror 3
Yes, dolce Juror 4
Yes, I Vn. II
Va. pizz.
Vc. tutti, unis., pizz. arco, non vibrato
Cb.
In ac cor dance with the
443
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.
Beau.
solo Juror 1
first
ar ti cle
of
the first
sec tion of
the
first
chap ter of
the
se cond part
of the pe
nal
code,
dolce Juror 2 3
In
ac cord ance withthe first
ar ti cle
of
the first
sec tion of
the
first
chap ter of
the
se cond part
of
the
dolce Juror 3 3
3
In
ac cord ance with the first 3
ar ti cle
In dolce
ac cord ance with the first
ar ti cle
of
the pe
nal
3
Juror 4
first
I Vn. II
Va.
Vc.
Cb.
ar ti cle
In ac cord ance with the first
ar ti cle
of
the first
sec tion
of
the pe
nal
code,
444
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.
M.A.
Beau.
Juror 1
the
ac
cused
should
be
con
demned
to
death.
the
ac
cused
should
be
con
demned
to
death.
the
ac
cused
should
be
con
demned
to
death.
the
ac
cused
should
be
con
demned
to
death.
Juror 2
pe
nal
code,
Juror 3
code, Juror 4
I Vn. II
Va. 2 soli, arco, div.
Vc. 3 soli, arco, div.
Cb.
445
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 with harmon mute* + -
-
-
o
-
-
-
-
+
Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Marie Antoinette:
lunga**
M.A. Beaumarchais:
Noth
ing.
Beau.
Have
you
an
y
thing
to
say?
Figaro: (kneeling)
Figaro
Your Majesty, forgive me. I Vn. II
Va. (2 soli, div.)
Vc. (3 soli, div.)
Cb. *Slowly uncover and then cover the mute with a cupped hand. Arpeggiated overtone series will result while the original note remains. **Beat of silence as Marie Antoinette realizes that there is no way she can escape death.
446 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.
Xyl.
1 Perc. 2 3
Synth.
8va
Piano
(Marie Antoinette touches Figaro’s hand.)
M.A.
Beau.
To Figaro 8va
unis.
I Vn.
unis.
II
Va. tutti, unis.
Vc.
tutti, unis.
Cb.
day
a great ex am
ple
is
giv en to the un
i
verse.
Na
ture
and
rea
son
are
sa tis fied at last.
447
1 Fl.
poss.
Flute
2 poss.
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
Hn. in F
1 2 to straight mute
1 Tpt. in C
to straight mute
2
1 Tbn. 2
Timp.
1 Vib.
Perc.
2 Pedal
3
Synth.
Piano
Harp
Beau.
E loco
I Vn. II
Va.
Vc.
Cb.
qual
i
ty
is
tri
um
phant.
448
40
Fl.
1 2
Ob.
1 2
Cl. in B
1 2
Bn.
1 2
Hn. in F
1 2
= 75
2. to Bass Clarinet
3
(
= 75) with straight mute
(
= 75) with straight mute
3
3
3
3
3
3
3
3
1 Tpt. in C
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
1 Tbn. 2
Bass Drum
Timp.
Xyl.
1
Perc.
(
= 75)
(
= 75)
Ten. Dr.
2 Tamb.
3 3
3
3
Synth.
3
(low strings)
8va
Piano
(The Revolutionary Women start to march as the scene changes.) 3
rough
Rev. Women 3
A
(2 or 3 drums)
Perc. (Cheers, ad lib.)
Citizens (
= 75)
Beau.
with re
spect
to
the Wi
dow
Ca
pet.
= 75 I Vn. II
Va. div. a2 1 2
Vc.
div. 3 4
div. 1 2
Cb. 3
3
chop, chop, chop, The guil lo
449
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 2
Bn.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Hn. in F 2 remove mute
1 3 3
Tpt. in C
3 3
3
3
3 3
3
remove mute
2 3
1 Tbn.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
2 (B.D.)
Timp. sempre
1 (Ten. Dr.)
Perc.
2 (Tamb.)
3 3
3
Synth.
rall. 8
*
dim.
Piano
(The scene changes to a Paris Street.) Rev. Women 3
tine
is
work ing ov
3
er
time.
3
3
Ka
3
thump, thump, thump,The heads are
3
3
rol
ling,
pour
ing out
their
ros
y
Perc.
I Vn. II
Va. (div.)
1 2 Vc.
(div.)
sempre
(div.)
sempre
3 4
1 2 sempre
Cb.
3 *At double bar, the Piano begins a slow rallentando, ignoring the conductor’s beat, to finally come to a complete stop.
sempre
wine.
450
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2 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 (B.D.)
Timp.
1
Perc.
2
3
Synth.
(rall.) 8
(dim. poco a poco)
Piano
Rev. Women 3
Come,
march,
Perc.
I Vn. II
Va. (div.)
1 2 Vc.
(div.)
3 4 (div.)
1 2 Cb.
3
3
we’ll
slaugh ter the
3
haugh
ty
witch.
Join
us.
3
We’ll butch
er the
bitch.
A
451
41 1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn.
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
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
(B.D.)
Timp.
1
Perc.
2
3
Synth.
(rall.) 8
Piano
(dim. poco a poco)
(This following scene crossfades with the previous one. The stage is transformed into an actibe Paris street. A parade of ferocious revolutionary women carrying severed heads on pikes march onstage. A ragtag band of street musicians enters with them. On a makeshift platform Punch and Judy performers working a miniature guillotine mimic the daily executions. Parents with their children watch the frightening procession with glee. 3
Rev. Women
chop,
chop,
Perc.
I Vn. II
Va. (div. a2) free bows 1 2
Vc. (div.) free bows 3 4 (div.) free bows 1 2
Cb.
free bows 3
3
chop, The guil
3
lo
tine
is
work
3
3
ing
o
ver time.
Ka
3
3
thump, thump, thump, The heads are roll
ing,
pour
3
3
ing out
their
452
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bn. 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 (B.D.)
Timp.
1 Ten. Dr. 3
Perc.
3
3
3
3
3
2
3
Synth.
Piano
(Enter BĂŠgearss, leading Wilhelm. They mount the platform, which is immediately vacated by the performers. The children flee.) Rev. Women
ro
sy
wine.
An
3
3
Perc.
I Vn. II
Va. (div.) 1 2
Vc. (div.) 3 4 (div.) 1 2
Cb. 3
toin ette,
3
3
we want
3
your head.
An
3
3
toin ette,
3
3
we want
3
your head.
An
3
3
toin ette,
3
3
we want
3
your head.
453
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl. (D.C.)*
1
3
3
3
Bn.
(D.C.)*
2
3
3
3
(D.C.)* 3
3
3
3
3
3
1 Hn. in F
(D.C.)*
2
1 Tpt. in C 2
1 Tbn. 2 (B.D.)
(D.C.)*
Timp.
1 (Ten. Dr.) 3
Perc.
3
(D.C.)*
2
3
Synth.
Piano
(BĂŠgearss silences the women with a gesture.) (D.C.)*
Rev. Women
An
3
3
toin ette,
3
3
we want
3
3
your head.
A-
(muttering) (D.C.)*
Perc.
I Vn. II
Va. (div.) 1 2
Vc. (div.)
sub.
3 4 (div.)
sub.
1 2
Cb.
sub. 3 sub. *Da Capo if needed for staging.
454
42
Scene 4
Adagio
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2
**
1 Hn. in F 2
open
1 Tpt. in C
open
2
**
1 Tbn.
**
2
Timp.
1 Perc.
2 3
Synth.
Piano
Rev. Women
(muttering)
BĂŠgearss:
Bgs. 8
Mon ar
chy.
Re vo lu
tion.
It’s all the same to me.
Be lief is for
fools.
(s)
I mere ly lust
Adagio I Vn. II
Va. *
(div.)
1 2
Vc. *
(div.)
3 4
*
(div.)
1 2
Cb.
* 3 *Keep same chord structure throughout glissando. **Glissando ascends slowly at the beginning, then accelerates quickly at the end.
to
455
1 Fl. 2
1 Ob. 2
Cl. in B
1 Bass Clarinet
Bs. Cl.
1 Bn.
to Contrabassoon
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Bgs. 8
rule.
I
will
bend
(d)
these wom en to my will.
Watch them
I Vn. II sul ponticello
Va. sul ponticello 1 2
Vc. 3 4 unis.
Cb.
squirm
(m)
456 Adagio 1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
Bn.
1
Contrabassoon
to Bassoon
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Bgs. 8
with de light as I
whip
(p)
them
in to a fren
zy.
They
Adagio
sul ponticello
I Vn.
sul ponticello
molto
II molto
Va. tutti, unis.
Vc.
Cb.
want to
hate.
They
need to
hate.
457
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn. ad lib.
1 Hn. in F
asynchronous ad lib.
2 ad lib.
asynchronous
1 Tpt. in C
asynchronous ad lib.
2 asynchronous
take straight mute
1 Tbn.
take straight mute
2
Timp. 1 2 3
Perc.
Piano
(Three women come forward with pikes, some with severed heads.) *
Rev. Women
Bé gearss
Bé gearss *
Bé gearss *
First Woman
Bé gearss *
Second Woman
Bé gearss *
Third Woman
Bé gearss Bgs. 8
Wom en
of
Pa
ris!
Wom en div.
I Vn.
div.
II
Va.
Vc.
Cb. *These figures should be performed ad lib., asynchronously. End “Bégearss” with a hiss.
of
Pa
ris!
458
43
Aria with Chorus
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2
1 brassy
Hn. in F 2
brassy
1 Tpt. in C 2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2
3
Synth.
Piano
(actual pitch)
Harp
Bgs. 8
Lis
ten!
Hear!
unis.
col legno battuto
unis.
col legno battuto
unis.
col legno battuto
I sub.
Vn. II
sub.
Va. sub.
Vc. div., 1. pizz., 2. arco
Cb.
Lis
ten
to
their
lit
tle
feet!
Hear
them
459
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2 open
1 open
Hn. in F 2
Tpt. in C
1 2 take harmon mute
1 Tbn.
take harmon mute
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
molto
Bgs. 8
scur ry from the cor
ners.
Lis
ten!
Hear!
I Vn. II arco
Va. col legno battuto
Vc. col legno battuto
Cb.
arco
460
44 = 72 1
Fl. 2 reed only (off instrument)
1 poss. reed only (off instrument)
Ob. 2
reed/mouthpiece only
poss.
Cl. in B
1 **
poss. (stagger breath)
Bs. Cl. legato **
(stagger breath)
1 legato
Bn.
**
(stagger breath)
2 legato
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Xyl.
1
Perc.
2 B.D.
3
Synth.
Piano
*
Harp
malevolently 3
3
Bgs. 8
They
= 72
are
com
ing
8va
arco
I 8va
Vn. arco
II free bows
Va. play behind bridge on indicated string
legato
free bows
Vc.
arco
play behind bridge on indicated string
legato
Cb. legato *Play on strings with a plastic guitar pick. Rasp and dampen. **Follow shape of squiggly line for indicated duration. Vary intervals and avoid articulating diatonic or chromatic scales.
free bows
to
spread
their
461
45
fltg.
1
3
Fl.
fltg.
2
3
reed only
1 poss.
Ob.
reed only
2 poss.
Cl. in B
reed/mouthpiece only
1 poss.
Bs. Cl.
1 Bn. 2
1 Hn. in F
3
2
1 Tpt. in C 2 harmon mute
3
1 Tbn.
harmon mute 3
2
Timp.
1
Perc.
2 (B.D.)
3
Synth.
Piano
Harp
3
3
Bgs. 8
3
plague.
They behind bridge
I Vn.
behind bridge
II
Va.
Vc.
Cb.
as
sem
ble
in
sec
ret
ca
bals.
462
1 legato
Fl. 2 legato ord.
1 Ob.
ord.
*
2 reed/mouthpiece only
Cl. in B
1 reed/mouthpiece only
poss.
Bs. Cl. poss.
1 Bn. 2 with straight mute
1 legato
Hn. in F
with straight mute
2 legato open
take harmon mute
with harmon mute
*
1 Tpt. in C
* with harmon mute
2 (with harmon mute)
1 (with harmon mute)
Tbn. 2
Timp.
1 T. Blks.
Perc.
2 (B.D.)
3
Synth.
Piano
E FGA BCD
Harp
3
Bgs. 8
They
3
whis per in
pri
vate
rooms.
A sul ponticello
I Vn. sul ponticello
II
pizz.
arco
pizz.
arco
pizz.
arco
Va.
Vc.
Cb. *Start with E , then widen intervals to box in next measure.
18
463
46 1 Fl. 2
1 legato
Ob. 2
legato
Cl. in B
1
Bs. Cl. *
1 legato
Bn.
*
2 legato *
1 Hn. in F
legato *
2 legato
1 legato
Tpt. in C 2
(with harmon mute)
legato
1 (with harmon mute)
Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Synth.
Piano
Harp
3
Bgs. 8
gainst
us.
They sul ponticello
18
I Vn.
sul D, sul ponticello
II
Va.
Vc.
Cb. *Start on B, then widen intervals to those indicated.
sul G
ord.
sly
ly
creep
down
464 **
1 Fl. **
2 **
1 Ob. **
2
Cl. in B
1
Bs. Cl.
1 Bn. 2 *
1 Hn. in F 2
1 Tpt. in C
via sord.
2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Synth.
Piano
Harp
Bgs. 8
dark
streets. 8va 0
I Vn. II
Va.
Vc.
Cb. *Short, ad lib. runs out of boxed range. **Follow shape of squiggly line for indicated duration. Vary intervals and avoid diatonic or chromatic scales.
Their
shi
ny
fur
is
465
47 1 Fl. 2
1 Ob. 2 ord.
Cl. in B
1 ord.
Bs. Cl. reed only
1 Bn. reed only
2 fltg.
remove mute
fltg.
remove mute
1 Hn. in F 2
(with harmon mute)
1 Tpt. in C 2 (with harmon mute)
remove mute
1 3
nasty (with harmon mute)
Tbn.
remove mute
2 3
nasty
Timp.
1 2 Perc.
(B.D.)
3
Synth.
Piano
Harp
Bgs.
pressed div., pizz.
I Vn. II
Va.
Vc.
Cb.
3
3
8
a
gainst
3
the
wall.
They
3
3
are
try
ing
to 8va
unis., arco
0
be
in
466 *
1 legatissimo
Fl.
cresc., poco a poco
to Piccolo
2 *
1 cresc., poco a poco
legatissimo
Ob. 2
*
Cl. in B
1 cresc., poco a poco legatissimo *
Bs. Cl. cresc., poco a poco
legatissimo
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C
cresc. poco a poco
(cresc.)
2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Synth.
Bgs. 3
3
8
vi
si
ble,
But pizz.
*
we
see
them.
arco, pont.
Solo Vn. cresc., poco a poco
legatissimo
Vn. I
Vn. II *
Solo Va. legatissimo
cresc., poco a poco
Va. *
Solo Vc. cresc., poco a poco
legatissimo
Vc. pizz.
*
arco, pont.
Solo Cb. legatissimo
cresc., poco a poco
Cb. * Solo strings and winds play as fast, and as soft, as possible. Ad lib. pauses between groups. Enter at notated time, but after that, all soloists are non-synchronized with the orchestra. Conductor will cut off with large cue at 51.
467
48 Picc.
Fl.
1
1 Ob.
remove reed from instrument
2
Cl. in B
1
Bs. Cl.
1 Bn.
legato
2 legato
1 Hn. in F
legato
2 legato via sord.
1 Tpt. in C 2 open
1 legato open
Tbn. 2
legato
Xyl.
1 Perc.
(B.D.)
3
(BRASS)
Synth. legato
12
Piano
E F
Harp
with suppressed fury
Bgs. 8
Solo Vn. Vn. I gli altri
Vn. II
Solo Va. Va. le altre
Solo Vc. Vc. gli altri
Solo Cb. Cb. gli altri
We
see
their
greed
y
eyes
and
hun
gry
mouths.
468 accel. poco a poco
49
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1
Bs. Cl. 1 Bn. 2
1 Hn. in F 2
open
1 Tpt. in C
open
2
1 Tbn. 2
Timp. (Xyl.)
1 Sus. Cym.
Perc.
2 cresc.
Ten. Dr.
3
Synth.
Piano
Harp
Bgs. 3
8
3
They want
to
free
the Queen
accel. poco a poco Solo Vn. *
Vn. I gli altri *
**
pizz. arco ***
poss., asynchronous pizz. arco ** ***
Vn. II poss., asynchronous
Solo Va. Va. le altre Solo Vc. Vc. gli altri Solo Cb. Cb. gli altri *Arpeggio behind bridge. **Tap desk with bow, or chair with nut. ***Tap upper part of soundboard with fingertips.
etc. ad lib.
etc. ad lib.
of
Rats.
3
3
3
3
They want to re lease her from her
trap.
469 (accel.) Picc.
Fl.
1 sub.
1 squeak on reed
sub.
Ob.
ad lib., asynchronous
2
Cl. in B
1 sub.
Bs. Cl. sub.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 S.D.
Perc.
2 B.D.
3
Synth.
Piano
Bgs. 8
(p)
But we
(accel.) Solo Vn. Vn. I gli altri
(squeaks and tapping)
(squeaks and tapping)
sub.
sub.
Vn. II sub.
Solo Va. sub. div.
Va. le altre
Solo Vc.
Vc. gli altri
sub. div.
Solo Cb.
Cb. gli altri
sub. div.
have her
by
the
tail.
Shall we
let
her
470
Piccolo
(accel.)
50
Picc.
Fl.
1
1 Ob.
(ad lib. reed squeaks)
2
Cl. in B
1
Bs. Cl. *
1 Bn.
*
2 *
1 Hn. in F
*
2
*
1 Tpt. in C
*
2 *
1 Tbn.
*
2 Xyl.
1 (S.D.)
Perc.
2 cresc.
(B.D.)
3 cresc. *
Synth.
Piano
shout
roughly
Rev. Women 3
No!
Bgs. 8
go?
Shall we
let
her
go?
(accel.) Solo Vn. Vn. I gli altri
Vn. II
Solo Va. (div.)
Va. le altre
Solo Vc. Vc. gli altri
(div.)
Solo Cb. Cb. gli altri
3
3
3
3
3
3
3
3
3
3
An toi nette,we want your head! An toi nette, we want your head! An toi nette, we want your head! An toi nette,we
(div.)
*Crescendos and diminuendos are asynchronous. Do not line up with other players.
471
= 92–96 Picc.
Fl.
1
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2
3
3
3
3
3
3
3
3
rough
3
3
3
3
rough
3
3
3
3
1 Hn. in F
rough
2 rough
Tpt. in C
Tbn.
1 2
1 2 optional
Timp.
(
)
(Xyl.)
1 (S.D.)
Perc.
2 3
(B.D.)
3
Synth.
3 3
3
3
3
3
3 3
3
3
3
3
Piano
Rev. Women
want
3
your head!
Come,
march,
We’ll slaugh ter the
haugh
ty
(Revolutionary Women play drums and percussion instruments.)
Perc.
Bgs. 8
Ah!
= 92–96 Solo Vn. Vn. I gli altri
Vn. II
Solo Va. (div.)
unis.
Va. le altre
Solo Vc. Vc. gli altri
(div.)
Solo Cb. Cb. gli altri
(div.)
div. a3
witch.
Join
us,
We’ll butch
er the
bitch!
3
472
51 to Flute
Picc.
Fl.
1
1 Ob. 2 Cl. in B
1 to Clarinet in B
Bs. Cl.
1 Bn. 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
take straight mute
take straight mute
Ratchet
Timp. (Xyl.)
1 (S.D.)
Perc.
2 (B.D.)
3
(brass)
Synth.
Piano
Harp
Rev. Women 3
An
3
toi nette,
3
we want
3
your
head!
An
3
toi nette,
3
we want
3
your head!
An
3
toi nette,
3
we want
your head!
Perc. (He silences them.)
Bgs. 8
Lis ten!
Solo Vn. Vn. I gli altri
Vn. II sul pont.
Solo Va. div.
unis., sul ponticello
Va. le altre 3
3
3
Solo Vc. Vc. gli altri
unis., pizz.
Solo Cb. Cb. gli altri
unis., pizz.
3
3
3
3
3
3
473 fltg.
1 asynchronous Flute, fltg.
Fl. 2
asynchronous
1 Ob. 2 fltg.
1 Cl. in B
asynchronous Clarinet in B , fltg.
to Bass Clarinet
2
asynchronous
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2
3
(tbns.)
Synth.
Harp
whispered
sung menacing
sub.
Bgs. 8
Hear!
The
I Vn. II
Va. 1 solo, non vibrato
Solo Vc.
Vc. gli altri 3 soli, arco, non vibrato
Cb.
chief
rat
Al
ma
vi
va
has
sum moned his
474
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl. fltg.
1 asynchronous Bassoon
Bn.
fltg.
2 fltg.
asynchronous
1 Hn. in F
fltg. asynchronous
2 asynchronous with straight mute
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
sub.
sub.
Bgs. 8
rat
troops
for
a
rat
meet
I Vn.
asynchronous
II
asynchronous
Va.
Solo Vc.
Vc. gli altri (3 soli)
Cb.
ing
in
his
475
52 Adagio 1 Fl. 2
1 asynchronous
Ob. 2
asynchronous
Cl. in B
1
Bass Clarinet
Bs. Cl.
1 asynchronous
Bn.
2 asynchronous
1 Hn. in F 2 fltg.
1 asynchronous with straight mute, fltg.
Tpt. in C 2
asynchronous
remove mute
1 Tbn.
remove mute
2
Timp. 1 2 3
Perc.
Synth.
Piano
Harp
sub.
Bgs. 8
rat
3
hole.
They are there right now,
Adagio I Vn. II
Va.
Solo Vc.
Vc. gli altri
Cb.
3
Sharp en ing their fangs and
3
claws.
476
1 Fl. 2
1 Ob. 2 Cl. in B
1
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Revolutionary Women:
asynchronous unruly
Rev. Women
Exterminate them! Exterminate them! Exterminate them! Bgs. 8
What
do
we
do
when
rats
(ts)
in
fest our hous
es?
(ses)
I Vn. II sul ponticello
Va. sul ponticello
Vc. div.
sul ponticello
unis.
Cb.
477
1 Fl. 2
1 Ob. 2
Cl. in B
1 to Clarinet in B
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
asynchronous
Rev. Women
Exterminate them! Exterminate them! Exterminate them! Bgs. 8
What do we do
when rats
(ts)
eat our sul ponticello
I Vn. sul ponticello
II
Va.
Vc.
Cb.
food?
478
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
Rev. Women
Extermination! Extermination! Extermination! Bgs. 8
What
do
we
do
when
rats
(ts)
rule
us?
(s) sul ponticello
I sul ponticello
Vn. II
sul ponticello
Va. sul ponticello
Vc.
sul ponticello
Cb.
479 slow gliss.
1 molto
Fl. 2 slow gliss.
molto
1 molto
Ob. 2 slow gliss.
molto
1 Cl. in B
molto
Clarinet in B
2 molto
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(together)
Rev. Women
Exterminate them!
(He cuts off the women.) shouting
Exterminate them!
Bgs. 8
The vermin are having a party tonight at Almaviva’s house! *
We’ll get them then!
What do you
sul pont. al ord. al sul pont. (sim.)
I Vn. * sul pont. al ord. al sul pont.
(sim.)
II *
sul pont. al ord. al sul pont.
(sim.)
Va. * sul pont. al ord. al sul pont.
(sim.)
Vc. * sul pont. al ord. al sul pont.
(sim.)
Cb. *Ad lib. crescendos and diminuendos, asynchronously, playing sul ponticello at the beginning, moving to ordinario at the height of the crescendo, and then back to sul ponticello on the diminuendo.
say?
480
53
= 92–96
1 Fl.
to Piccolo
2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 3
1 Hn. in F
3
2 (straight mute)
1 3
Tpt. in C
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(straight mute)
2 3
3
open
1 3
Tbn.
open
2 3
Ratchet
Timp. Xyl.
1 S.D.
Perc.
2 B.D.
3
Piano
Harp
Rev. Women 8
An
3
toi nette,
3
we want
3
your head!
An
3
toi nette,
3
we want
3
your head!
An
3
toi nette,
3
we want
3
your head!
Perc.
Bgs. 3
8
= 92–96 I Vn. II
Va.
Vc.
Cb.
A
481
Picc.
Fl.
1
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
rough
3
3
3
3
3
3
3
3
3
rough
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Hn. in F
rough
2 rough
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Harp
Rev. Women
chop,
chop,
chop, The guil
chop,
chop,
chop, The guil
3
3
lo
tine
is
work ing
lo
tine
is
work ing
o
ver time.
3
Ka
thump, thump, thump, The heads are
Ka
thump, thump, thump, The heads are
3
3
roll
ing
pour
roll
ing
pour
ing out
their
Perc.
Bgs. 3
8
I Vn. II
Va. div. a2
1–2
Vc. div.
3–4
div.
Cb.
3
3
3
o
3
3
ver time.
3
3
3
ing out
their
482
54 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 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 (B.D.)
3
Synth.
Harp
Rev. Women 3
ros
y
wine.
Come,
march,
ros
y
wine.
Come,
march,
3
We’ll
slaugh
We’ll
slaugh
3
ter the
haugh
ty
witch.
Join
us
ter the
haugh
ty
witch.
Join
us
We’ll
Perc.
Bgs. 8
3
3
3
I Vn. II 1 div. 2-4
Va. (div. a2)
1–2 Vc. (div.)
3–4 (div.)
Cb.
We’ll
483
Picc.
Fl.
1
Ob.
1 2
1.
1 Cl. in B 2
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
Bn. 2
1 Hn. in F 2
1 2
Tpt. in C
1 3
Tbn. 2
3
1 2 Perc. 3
Synth.
(The Marchers, led by Begearss, exit.)
3
Rev. Women 3
butch
er the
bitch.
er the
bitch.
3
3
3
3
A
chop,
chop,
chop, The guil
A
chop,
chop,
chop, The guil
3
lo
tine
is
work ing
lo
tine
is
work ing
o
3
ver time.
3
Ka
thump, thump, thump, The heads are
Ka
thump, thump, thump, The heads are
Perc.
Bgs. 8
3
butch
3
3
o
3
3
ver time.
Vn. I div.
1 2 div.
3 Vn. II 4 div.
5 6 (div.)
(div.)
Va.
(div. a2)
1–2
Vc.
(div.)
3–4 (div.)
Cb.
484 Piccolo
55 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn.
3
3
3
3
3
3
3
3
3
3
3
3
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
1 2 Perc.
(B.D.)
3
Synth.
Rev. Women
roll
ing,
pour
roll
ing,
pour
3
ing out
3
3
their
ros
y
wine.
Come,
march,
their
ros
y
wine.
Come,
march,
3
We’ll
slaugh ter the
We’ll
slaugh ter the
haugh
ty
witch.
haugh
ty
witch.
Perc.
Bgs. 3
8
ing out
3
3
div.
1 2 div.
3 4
Vn. I
div.
5 6 (div. a6)
Vn. II (div. a4)
Va. (div. a2)
1–2 Vc.
(div.)
3–4 (div.)
Cb.
3
485
Picc.
Fl.
1
Ob.
1 2
1 Cl. in B 2
1 Bn. 2
3
3
3
3
1 Hn. in F 2 (straight mute) 3
3
3
3
3
3
3
3
3
3
3
1 Tpt. in C
(straight mute) 3
2 with straight mute
1 with straight mute
Tbn. 2
Tamb.
2 Perc.
(B.D.)
3
Synth.
Rev. Women 3
Join
us,
3
We’ll butch
er the
bitch.
An
3
toi nette
3
we want
3
your head!
An
3
toi nette
3
Perc. 3
Bgs. 8
Join div. a6
I (div. a6)
Vn. II (div. a4)
Va. (div. a2)
1–2 Vc.
(div.)
3–4
Cb.
us,
3
3
We’ll butch
er the
bitch.
3
3
3
we want
3
your head!
486
56 Picc. ***
Fl.
1
1 to E.H.
Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
remove mute 3
3
3
3
3
3
open
1 Tpt. in C
remove mute
2
open
legatiss.
legatissismo **
remove mute
**
remove mute
1 Tbn. 2
1 (Tamb.)
Perc.
2
3
Synth.
*
Rev. Women 8
3
An
3
3
toi nette we want your head!
Perc. 3
3
Bgs. 3
8
A 1 sola to Ball Orchestra
(div. a6) ***
I (div. a6)
Vn. II (div. a4) 1 sola to Ball Orchestra
***
1 solo to Ball Orchestra 2 soli, unis.
***
Va. (div. a4)
Vc. (div. a3) 1
Cb. 2-3 *Exiting Marchers repeat Revolutionary Song until they exit stage. The music should fade away and should not synchronize with orchestra from this point on. **Breath and reattack here if necessary. ***Flute 1, soli Violin, Viola, and Violoncello in the pit for Ball Orchestra.
Scene 5 to Flute
487
57
Picc. = 84
Fl.
1
Ob.
1
*
E.H.
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.
(The peers of Paris—those who have not fled or been thrown in jail or executed— assemble for one last time. Liveried servants take their wraps. The aristocrats are decked out with a pre-revolutionary splendor. They are dressed à la victime, with thin ribbons around their necks, commemorating relatives and loved ones lost to the guillotine. 1st Gossip Ghost:
1st Gossip Ghost
I
knew
that
wo
man.
Ma
de leine!
Rosina: (spoken)
Rosina: 8
Welcome, Madeleine, welcome. Almaviva: (spoken)
Almaviva 8
*
Your excellency, welcome.
1 solo = 84
Vn. I solo
Vn. I gli altri
Vn. II * 1 sola = 84
Va. sola div. a3
Va. le altre * 1 solo, pizz. = 84
1 player
Vc. 2 players
(div.)
Cb. * A Flute, Violin, Viola, and Violoncello create the “Ball Orchestra” which plays its music independently of the conductor. The Violinist should conduct the others as if they were in a chamber ensemble. The group continues to play their music until Almaviva cuts them off by clapping hands.
488
Fl.
Solo Vn.
Sola Va. arco
(pizz.)
arco
pizz.
Solo Vc.
Fl.
Solo Vn.
Sola Va. pizz.
arco
Solo Vc.
Fl.
Solo Vn.
Sola Va.
pizz.
arco
Solo Vc.
rall. Fl. (Play only if low B is not available on Flute) Solo Vn.
Sola Va.
Solo Vc.
(Three ghosts—the gossips—haunt the ball. They are dressed in the same fashion as the guests, but their clothing is all white and their makeup has a waxy pallor. The First and Second Ghosts mingle with the guests; the Third Ghost sits on a chandelier. The Ghosts cannot be seen, heard, or touched. Rosina and Almaviva stand to one side, greeting people. Nearby, next to the pillar, Florestine paces nervously.)
Ghost Gossips
3
Florestine
Have
you seen Lé
on?
Marquis 8
con sord. 2, 3
con sord. 4
Vn. I gli altri con sord. 5, 6
con sord. 1, 2
Vn. II
con sord. 3
Va. le altre
Vc. 2 players, div., con sord.
Cb.
Mar gue ri
2nd Gossip Ghost:
No,
I’m sor
ry.
3
Her young
man
left
her.
te
489
Fl.
2
Ob.
1
E.H.
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.
1st Gossip Ghost:
Ghost Gossips
Poor Bishop:
Bishop 8
We must 2nd Young Man:
2nd Yng. Man
Not since Eas
Florestine: (to another young man)
ter. (she cries in her friends arms)
Florestine
Have you seen LĂŠ
on?
I
don’t know where he
Ball Orch.
Vn. I gli altri
unis.
3, 4, unis., con sord.
Vn. II 5, 6, unis., con sord.
unis., con sord.
Va. le altre (1)
Vc. gli altri
Cb.
div. (con sord.)
(2) (1) con sord. (2)
is.
ne
ver give
up hope.
490 vuota Fl.
2
Ob.
1
E.H.
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.
girl.
Ghost Gossips
Poor
Flo
res
tine.
Florestine
Where did
he
go? Almaviva: (He claps for silence.)
(Almaviva goes to where the musicians are seated.)
Almaviva 8
Ball Orch.
(div.)
vuota
Vn. I gli altri (div.)
via sord.
via sord.
Vn. II via sord.
via sord.
Va. le altre via sord.
Vc. gli altri via sord.
Cb.
491
58 1 Fl. 2
Ob.
1
E.H.
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
Friends,
wel
come.
For
one
last
time
we
have come
I Vn. II div., senza sord. * 1, 2, 3
Va. 4 *
dolce div., senza sord.
Vc. dolce unis., senza sord.
Cb. dolce *Soli Viola and Violoncello rejoin their sections until rehearsal number 59, when they join the Ball Orchestra again.
3
to
ge ther in the name of
love
and
am
i
ty.
492
1 Fl. 2
Ob.
1
E.H.
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
But
I Vn. II (div.)
Va. (div.)
Vc.
Cb.
e
ven
as
I speak,
all
of France
suf
fers
and
our
queen
a
waits
her
ver
dict.
493
1 Fl. 2
Ob.
1
E.H.
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
When I think
I Vn. II unis.
Va. sub.
Vc. sub.
Cb. sub.
of
her
I
re proach my self the
air
I
breathe,
and am torn
be tween pain
and rage,
494
1 Fl. 2
Ob.
1
E.H.
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 3
8
But
I Vn. II div.
Va. (3) (1)
Vc.
Cb.
to night,
3
let us for get our sor rows
and ce le brate this mo ment
of free
dom.
Let the gold
en
days
re
turn!
495
59 Tempo di minuetto *
C
Fl. gracefully
Solo Vn.
Sola Va. gracefully
Solo Vc.
A
Fl.
Solo Vn.
Sola Va.
Solo Vc.
Synth.
Piano
Harp
(Everyone dances—even the ghosts—except the Almaviva household. For a moment all pains are forgotten as the salad days of the monarchy are revived. After a while Léon enters furtively. He stands partially hidden near Florestine.)
** Léon: (spoken, sotto voce)
Leon 8
Florestine!
Almaviva 8
Musicians!
I Vn. II
Va.
Vc.
Cb. *Ball Orchestra is independent of singers and pit orchestra. Continue playing until cue to fade at rehearsal 60 . **After dance has been established.
496
Fl.
Solo Vn.
Sola Va.
Solo Vc.
Fl.
Solo Vn.
Sola Va.
Solo Vc.
60 = 60–66 Fl.
Flute)
2 1. (solo)
Ob.
1
Cl. in B
1 2
Bn.
1 2
dolce
dolce
1 Hn. in F
2
Tpt. in C
1 2
Perc.
1 2 3
Synth.
Florestine: (Florestine embraces Léon.)
(Léon holds her. Almaviva sees them.)
Florestine
Lé
on!
I don’t care!
Thank God you’re safe! Rosina:
(Rosina restrains Almaviva.)
Rosina
Don’t! Léon 8
Your
fath
er! (Pointing out Léon to Rosina)
Almaviva 8
Your
son!
* Ball Orchestra
= 60–66 I Vn. II unis.
Va. espr., curved, lyrical div.
Vc.
Cb.
*:If the Ball Orchestra is on stage, it mimes playing after the fade to niente until rehearsal 65 .
(espr.)
497
Fl.
2
Ob.
1
E.H.
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
3
3
Florestine
I
thought you had left me.
I was so fright ened.
Rosina
Will you? Will you?
Léon 8
Dar
ling.
Leave you? (aside) (Almaviva tries to speak, but Rosina cuts him off.)
Almaviva 8
3
How dare he come here?
I Vn. II
Va. (div.)
Vc.
Cb.
3
3
I’ll have him thrown out!
I know she’s right.
We com
498 rall. Fl.
2
Ob.
1
E.H.
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
Florestine
(aside)
Rosina 3
What
can
I
do
to
make him
for
give
me? dolce
Léon 8
How
could
Almaviva 3
8
mit
ted
3
the same
sin…
Yes
I
can’t for
give
rall. I Vn. II
Va.
Vc.
Cb.
her.
I
leave
you?
61
499
Quartet = ca. 60
Fl.
2
Ob.
1
E.H.
1 Cl. in B 2
1 Bn. 2
3
3
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Crotales
1
Perc.
2
3
(va., vc.)
Synth.
3
Piano
(The dancers continue dancing, even though the Ball Orchestra’s music has faded away.)
Florestine
You took me
Rosina
3
LĂŠon 3
8
Re
mem ber
the chest
nut
trees
in
the
gar dens of
the Tuil
er
ies?
Almaviva 8
(5 players) unis., (con sord.)
= ca. 60 I Vn.
senza sord.
II div.
Va.
Vc. 3
Cb.
by the
500
Fl.
1 2
Ob.
1
E.H.
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
Florestine
hand.
Rosina
I wish he’d
take my
hand.
Léon 8
Re
mem ber
Almaviva 8
I’d like to touch her hand.
I Vn.
div.
II (div.)
Va. (div.)
Vc.
Cb.
the mist
on the
Seine
And the
brid ges
in
the ea
sy
501
62 Fl.
2 3
Ob.
1
E.H.
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Crot.
1
Perc.
2
3
Synth.
Harp
3
Florestine
You held my face and
kissed
me.
Re
mem
Rosina
LĂŠon 8
rain?
I
held
you.
I
kissed
you.
Almaviva 8
(con sord.) (2–6)
I Vn.
(div.)
unis.
II (div.)
Va. (div.)
Vc.
Cb.
(2) (1) (2) (1)
ber
the
fal
len
502
Fl.
2
Ob.
1 3
E.H.
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 Vib., motor off
Perc.
2
Pedal
3
Synth.
3
Harp
Florestine 3
birch
In
the
clois ter
of
the lit
tle
church?
Re
mem ber
Rosina
Léon 8
I
took you by the
hand.
Almaviva 8
(2–6) (sord.)
I Vn.
div.
II (div.)
Va. (div.)
Vc. 3
Cb.
us drift ing,
a
503
Fl.
2
Ob.
1
E.H.
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 Vib. (motor off)
Perc.
2 Pedal
3
Synth.
Harp
Florestine
float,
In
the
si
lence of
the glid
ing
boat?
(t)
You
shiv
ered
Rosina
LĂŠon 8
I
held your face and
kissed
you.
Almaviva 8
(2–6) (sord.) via sord.
I Vn.
(div.)
II
(div.)
Va. (div.)
Vc. pizz.
Cb.
and
504
63
Fl.
2
Ob.
1 English Horn
3
E.H.
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2 Timpani
Timp.
1
Perc.
2
3 (stgs., bns., brass)
(vc., cb.)
Synth.
Harp
Florestine
trem
bled. dolce
Rosina
Look
how he loves
her. dolce
LĂŠon 3
8
You
quiv
ered
and
sighed.
Re
mem ber
the
fra grance of
dolce
Almaviva 8
Look
3
how she loves him.
senza sord.
3
I Vn.
dolce
2 players (5., 6.)
II
(div.)
Va. unis.
div.
Vc. arco
div.
2 players
Cb. 1 player
505
1 Fl. 2
Ob.
1 3
3
E.H.
1 Cl. in B 2 *
1 Bn.
*
2 *
1 Hn. in F
*
2 *
1 Tpt. in C
*
2 *
1 Tbn.
*
2
Timp. Glock. 3
3
1 Perc. Sus. Cym.
3
Synth.
Florestine
I (impassioned) Rosina 3
I
3
re mem ber a
3
shim mer ing light.
LĂŠon 8
mush rooms in
the air? (impassioned)
Almaviva 3
8
I
Vn. I div.
1-4 Vn. II 5-6
Va.
Vc.
Cb. *Ossia:
3
re mem ber a star filled night.
re mem ber there were rain
drops
in
your
hair.
506
64 1
Fl. 2
Ob.
1 to Oboe
E.H.
1 Cl. in B
to Bass Clarinet
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Glock.
Perc.
1
Synth.
Piano
(actual pitch)
Harp
Florestine
I
swore
to
love
you
al
ways.
I
gave
my
self
to
you
for
ev
er.
I
swore
to
love
you
al
ways.
I
gave
my
self
to
you
for
ev
er.
LĂŠon 8
Almaviva 8
I div. al sord.
I Vn.
div. a2
unis.
II
(div.)
unis.
Va. unis., pizz.
arco
unis., pizz.
arco
Vc.
Cb.
unis., con sord.
507 vuota 1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
(Florestine, Leon, Rosina, and Almaviva stay frozen in position.)
Florestine
Rosina:
Rosina
I
gave
my
self
to
him
for
ev
er.
LĂŠon 8
Almaviva 8
swore
to
love
her
al
ways. via sord.
I Vn. II
Va.
Vc.
Cb.
vuota
508
65 Adagio 1
Fl. 2
1 Ob. 2
Cl. in B
1 Bass Clarinet
Bs. Cl.
1 Bn. 2
1 pesante
Hn. in F 2
pesante
1 Tpt. in C 2 take straight mute
1 pesante
Tbn.
take straight mute
2 pesante
take Ratchet
Timp.
1
Perc.
2 B.D.
3
Synth.
Piano
Harp
(Suddenly, the door bursts open with a crash, interrupting the dance and the singers’ inner thoughts. Bégearss enters, leading the revolutionary women and soldiers. The musicians stop playing. There is a beat of stunned silence.)
Almaviva 8
My friend, I don’t understand. What is the meaning of this?
Bégearss:
Bégearss 8
I hope I’m not too late for your party!
Adagio I Vn. II
Va. div. a4
Vc.
div. a3
non vibrato
Cb. sub.
My dear Almaviva, why did you not invite your good friend, Bégearss?
509 Quasi in tempo 1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2
3
Synth.
Harp
Ghost 1:
Let’s tell
Ghosts
the oth
ers. Ghost 2:
Let’s tell her ma
jes
ty.
Almaviva 8
(to soldiers)
Bégearss 8
Citizens, arrest the aristocrats!
Now
Do
you
un
der
stand?
Quasi in tempo I Vn. II
Va. half section slow, asynchronous quarter-tone oscillations
Vc. (div. a3)
Cb.
510
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 (with straight mute)
1 Tbn. 2
Timp. 1 2 3
Perc.
Synth.
tutti, asynchronous Revolutionary Women:
sss
Rev. Women
sss
sss
Florestine
Ju das!
Rosina
We are lost!
Léon 8
Trai tor!
(emphasize “s” sound)
Bégearss 8
The neck lace.
Almaviva 8
You have be trayed me!
I don’t have it.
Vn. II half section slow, asynchronous quarter-tone oscillations
Va. (half section)
Vc.
Cb.
tutti, div.
511
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
1 Bn. 2
1 Hn. in F
molto
2 molto
1 Tpt. in C 2
1 molto
(with straight mute)
Tbn. 2
Timp. 1 2 3
Perc.
Synth.
Harp
(Figaro and Beaumarchais enter and watch unnoticed.)
sss
Rev. Women
sss
sss brutally
(emphasize “s”)
sweetly
Bégearss 8
Where
is
it?
Give it to me!
Almaviva 8
I don’t know where it
is. senza vibrato senza sord.
I senza vibrato
Vn. II
(half section)
Va. (div.)
Vc. (div. a3)
Cb.
tutte, div.
Or perhaps you would prefer to talk to my friends here?
512
66 = 92–96
Fl.
1 2
Ob.
1 2 to Clarinet in B
Bs. Cl.
1 Bn. 2 a2
Hn. in F
1 2
1 Tpt. in C
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
2 a2
(with straight mute)
1 2
Tbn.
Ratchet
Timp. Xyl.
1 S.D.
Perc.
2 Ten. Dr.
3
(trumpets)
Synth.
1 3
3
Me,
me,
Me,
me,
me,
3
3
no!
Me,
me,
no!
Me,
me,
me,
3
3
no!
Me,
me,
no!
Me,
me,
me,
no!
2 3
3
me,
3
3
me,
3
3
me,
no!
3 3
3
3
Give ’em to, give ’em to, give ’em to
Rev. Women
3
me!
3
3
Give ’em to, give ’em to, give ’em
to
3
me!
3
3
Give ’em to, give ’em, to give ’em
to
me!
4 3
Give ’em to me,
3
3
3
3
3
me,
give ’em to
give ’em to me,
me,
give ’em to
give ’em to me,
me,
give ’em to
No,
me!
No,
No,
me!
No,
No,
me!
5
No,
me!
me!
me!
6
Me!
Me!
Me!
Florestine 3
He
does
n’t
He
does
n’t
know!
Rosina 3
know!
Almaviva 3
8
I
don’t
know!
Figaro: (shouts)
Figaro
= 92–96 I Vn. II (div.)
Va. (div.)
Vc. (div. a3)
Cb.
Stop!
513 Slower
= ca. 72,
= ca. 144
1 Fl. 2
1 Ob.
Oboe
2
1 Cl. in B
Clarinet in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 open
remove mute
1 Tbn.
remove mute
open
2 Timpani
Timp.
1
Perc.
2 B.D.
3
Synth.
Piano
Harp
(Figaro gives the necklace to BĂŠgearss.)
(BĂŠgearss holds the diamonds aloft.)
Figaro
(p)
I have it, you
traitor!
Slower
= ca. 72,
= ca. 144
I savage
Vn. II savage
unis.
Va. savage
unis.
Vc. unis.
savage
Cb. savage
514
1 Fl.
to Picc.
Piccolo
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. hammered Xyl.
1
Perc.
2
3
Synth.
hammered
Piano
hammered
Harp
BĂŠgearss:
BĂŠgearss 8
At last.
I non div.
Vn.
0 0
II
Va.
Vc.
Cb.
I
have
you,
Al
ma
vi
va.
I
seize
this
in
the
name
of
the
peo
ple.
515
67
to Flute
= 92–96
Picc.
Fl.
1
Ob.
1 2
Cl. in B
1 2
1.
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 3
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Xyl.)
1 Perc.
B.D.
3
(brass)
Synth.
3
Piano
Harp
Chorus (shouts):
Revolutionary Women:
Chorus
Yes!
(Cheer)
(Cheers, applause ad libs.) (Bégearss puts the necklace in his coat pocket.)
Bégearss 8
It
will
be used
to
feed the poor.
And house the home less.
= 92–96
I Vn. II
Va. div. a2
Vc. div. a4
div.
div.
Cb. div. a3
516 rall. 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
3
1 Hn. in F
3
2
1 Tpt. in C
3
2 3
1 3
Tbn. 2 3
Timp.
1
Perc.
2 (B.D.)
3
3
Synth. 3
(Susanna enters and hides behind a pillar. From time-to-time, she peeks her head out. The rest of the ghosts, led by Marie Antoinette and Louis, enter.)
Chorus Almaviva:
free
Almaviva 8
For give
rall. I Vn. II
Va. (div. a3)
Vc. div. a4
(div.)
(div.)
Cb. div. a3
me,
Fi ga ro.
Once a gain
you have proved
517
68 = 68
=
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 staccatissimo
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(WORM SOUND)
Synth.
Piano
Harp
Bégearss: (to Wilhelm)
Bégearss 8
My
hat
red
is
in
full
bloom.
Almaviva 8
me
a
fool.
= 68 I Vn. II div.
Va. *unis.
Vc. *unis.
Cb. *As before, stand by stand, players change from pitch to pitch.
=
518 = 1 Fl. 2
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
3
(brass)
Synth.
Piano
Harp
(to Almaviva)
BĂŠgearss 8
Al
ma vi
va,
I am
now
your
e
qual.
Now
we
are
all
a
ris
to crats.
And I want to mar ry
Almaviva 8
= I Vn. II
Va.
Vc.
Cb.
519
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 take straight mute
1 Tbn. 2
Timp.
1 S.D.
Perc.
2 B.D.
3 (BRASS)
Synth.
Rosina:
Rosina
No! Léon:
Léon 8
No! sweetly
Bégearss 8
Flo res tine.
You
will give me your daugh ter’s hand.
I want
that
plea
sure.
De ny me
Almaviva 8
I will never allow it!
No!
No!
div. a3 al sord.
I div.
Vn. II
unis.
Va. div. a4
Vc.
div.
Cb.
div. a3
and you all will die.
520
69
(In tempo) slow oscillation above and below note
to Ball Orchestra
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 slow oscillation above and below note + - - - O - - - + - - - O - - - +
1 Hn. in F 2
1 Tpt. in C 2 with straight mute slow oscillation above and below note
remove mute
1 Tbn. 2
Timp.
1
Perc.
2 B.D.
3
Synth.
Piano
Harp
(to Wilhelm)
(whirls around)
(Beaumarchais makes a magical gesture to the soldiers)
BĂŠgearss 8
Take them to prison.
Figaro: (to Beaumarchais)
Powers? What powers? I have all the pow er.
Figaro
Free us.
Use your pow ers.
(In tempo) I sul pont.
half section, sul pont.
Vn.
(half)
II senza vibrato
Va.
Vc.
Cb.
sul pont.
tutti
521
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 (B.D.)
3
Synth.
Marie Antoinette:
M.A.
I knew it.
He’s lost his pow er. Marquis:
Marq. 8
Poor
man.
Louis:
Louis
3
Beaumarchais:
He’s be come mor (Nothing happens.)
tal. (He does it again.)
Beau.
Re
I Vn.
lease
(2) (1) (1) (2)
them!
div. a4, con sord. slow, asynchronous, quarter-tone oscillations
* sul pont
half section, sul pont.
tutti
II (half) * sul pont.
sul pont.
sul pont.
Va. * sul pont.
Vc.
Cb. *Continue playing chromatic figures, following shape of squiggly lines. Diminuendo al niente.
sul pont.
522
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
Harp
(to Figaro)
(to Wilhelm)
(to Almaviva)
(to Ball Orchestra)
Almaviva, I’ll see you at dawn.
Musicians, play. Amuse the aristocrats as they go
BĂŠgearss 8
Your friend is mad.
Take them to prison.
(Again nothing happens.)
Beau. 3
I
com
mand you!
I am as weak as smoke.
(div. a4)
1 solo to Ball Orchestra
I (non cresc.)
Vn.
(sul pont.)
*
(sul pont.)
*
1 sola to Ball Orchestra
(sul pont.)
*
1 solo to Ball Orchestra
II
Va.
Vc. 3 soli, div., non vib.
Cb.
* Improvise a chromatic line, following the shape of the squiggly line.
523 Elegant
= 84
* (in Ball Orchestra)
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 ghosts dance. Susanna takes Figaro aside.) Susanna: (to Figaro)
Susanna
No, that way and be quick about it! Go! Wilhelm: (to the prisoners)
Wilhelm
This way and be quick about it! (exit Bégearss.)
Bégearss 8
off to their cell. Elegant = 84 * 1 solo (in Ball Orchestra)
I Vn. II Elegant = 84 * 1 sola (in Ball Orchestra)
Va. Elegant = 84 1 solo, pizz. * (in Ball Orchestra)
Vc. (div. a3)
Cb. * As before, Flute, Violin, Viola, and Violoncello create the “Ball Orchestra” and play independently. They play continuously, alternating endings 1. and 2. until their cue to fade at the orchestral 4/4, marked “Adagio = 48.”
arco
524
Flute
Solo Vn.
Sola Va. pizz.
arco
pizz.
arco
Solo Vc.
Flute
Solo Vn.
Sola Va.
Solo Vc.
Fl.
2
Ob.
1 2
Cl. in B
1 2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
Timp.
Perc.
1 2 3
Synth.
Piano
Harp
(Figaro returns to fetch Beaumarchais. Wilhelm notices.)
Susanna
Wilhelm
What’s this? What’s this? I Vn. II
Va.
Vc.
Cb.
525
Flute (play only if Flute cannot play B )
(1 solo)
Solo Vn.
(1 sola)
Sola Va. (1 solo) pizz.
arco
Solo Vc.
rall. 1
Flute
(1 solo)
Solo Vn. (1 sola)
Sola Va. (1 solo)
Solo Vc.
Fl.
2
Ob.
1 2
Cl. in B
1 2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
Timp.
Perc.
1 2 3
Synth.
Piano
Harp
(Susanna tries to distract Wilhelm as Figaro and Beaumarchais sneak away.)
(Wilhelm traps Susanna as she is about to join Figaro.)
Susanna
Go, Figaro, go! Wilhelm
Vn.
I
II
Va.
Vc.
Cb.
526 2
Flute
Solo Vn.
Sola Va. pizz.
arco
Solo Vc.
Flute
Solo Vn.
Sola Va.
Solo Vc.
Fl.
2
Ob.
1 2
Cl. in B
1 2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
Timp.
Perc.
1 2 3
Synth.
Piano
Harp
(Turmoil as the aristocrats are herded off, Susanna among them, and Figaro and Beaumarchais escape.) Susanna
Wilhelm
Not you, woman. I Vn. II
Va.
Vc.
Cb.
527
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
Susanna
Fly, Figaro, fly! (Wilhem holds Susanna.)
Wilhelm
Stop them! They’re escaping, you fools! Master will kill me!
Ball Orch.
I Vn. II
Va.
Vc.
Cb.
528
71 *
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
(va., vc.)
Synth.
Piano
Harp
(Wilhelm, the soldiers, revolutionary women, guests, and the Almaviva household all leave. The stage is empty, except for the musicians and the ghosts. The stage is silent but for the music. The ghosts start dancing a spectral version of the ball, gracefully exchanging heads and limbs.)
Susanna
Wilhelm
Ball Orch.
I Vn. II Va.
Vc.
2,3 div., senza vib.
2,3 div., senza vib.
Cb. * Play (pp) at approximate positions within cue.
529
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
Ball Orch.
Vn.
I
II (2, 3 div.)
Va.
4, 5 div., senza vib.
(2, 3 div.)
Vc.
4, 5 div., senza vib.
Cb. * Play (pp) at approximate positions within cue.
530 rall.
fade away
Flute (1 solo)
Solo Vn. (1 sola)
Solo Va. (1 solo)
Solo Vc.
Adagio Fl.
= 48
2
1 Ob.
to English Horn
2
1 Cl. in B 2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
Timp. 1 2 3
Perc.
(strings)
Synth.
Marie Antoinette: (to herself) free
M.A.
He sac ri ficed his pow ers,
Adagio
and he risked his soul.
Be cause he
= 48
unis., arco
Vn. I gli altri legatissimo
Vn. II legatissimo div.
2,3 Va.
(div.)
4,5 (div.)
2,3 Vc.
(div.)
4,5
Cb.
unis.
div.
loves me.
He loves me.
72
531
Interlude
1 Fl. 2
Ob.
1
E.H.
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 Vib.
Perc.
2 blurred Pedal
3
Synth.
Piano
l.v. sempre
Harp
tutti
I Vn. II tutte, unis., pizz. (actual pitch)
arco
Va. tutti, unis., pizz. (actual pitch)
Vc.
Cb.
3 soli, div., arco
532 *
73
1 *
Fl.
to Piccolo
2
Ob.
1 3
E.H.
1 Cl. in B
*
to Bass Clarinet
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3 (va., vc.)
(strings)
Synth.
Piano
Harp
div.
I div. a3
Vn.
*
II div. (div.)
Va.
tutti, div.
Vc.
Cb. *Glissando for full value of note. The glissando should be slow and sensual.
(div.)
533
Picc.
Fl.
1
Ob.
1
E.H.
Cl. in B
1 3
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
3
Piano
Harp
unis.
I legatissimo
Vn.
unis.
(senza cresc.) div.
II (div.)
legatissimo
(div. a2)
Va.
(div.)
Vc. 3
Cb.
half section
tutti, div., pizz.
534
74 Picc.
Fl.
1
Ob.
1 3
3
3
dolce
English Horn
E.H. espr.
Cl. in B
1 3
3
3
Bass Clarinet
Bs. Cl. espr.
1 Bn. 2 espr.
1 Hn. in F
espr.
2 espr.
*
1 Tpt. in C
3
3
3
2 3
3
3
1 Tbn.
3
2
Timp.
1
Perc.
2 B.D.
3
(va., vc., hns.)
Synth.
Piano
Harp
I Vn.
espr.
(div.)
(div.)
unis. (non div.)
unis.
div. a2
unis. (non div.)
unis.
non div.
unis., arco
non div.
II
(div.)
Va.
Vc.
Cb. *May be performed on D Trumpet.
3
535
75 to Flute
Piccolo
Picc. molto
Fl.
1 molto
Ob.
1 molto
E.H. dolce
molto
Cl. in B
1
Bs. Cl.
1 Bn. 2 take straight mute
with straight mute
take straight mute
with straight mute
1 Hn. in F 2
1 Tpt. in C
take whispa mute
2
1 Tbn.
molto
2 molto
Timp.
1 Glock.
15
Perc.
2 molto
(B.D.)
3 molto
(tbns.)
Synth.
molto
Piano
Harp
div. trem.
I Vn.
al sord.
II
al sord.
Va.
Vc. div., pizz.
Cb.
536
1 Fl. 2
Ob.
1
E.H.
Cl. in B
1
Bs. Cl.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(cb.)
Synth.
Piano
Harp
I div., con sord.
Vn.
*
II div., con sord.
*
Va. 3 soli, div. a3 tutti, unis.
Vc.
arco
Cb. *Slow, full-value glissando.
76
537
Scene 6
1 Fl. 2
Ob.
1
E.H.
Cl. in B
1
Bs. Cl.
1 Bn.
to Contrabassoon
2
remove mute
1 Hn. in F
remove mute
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 B.D.
3
(The curtains open, revealing the dismal Gothic-vaulted interior of the Conciergerie prison. It is night. Candle and torchlight disclose two levels. On the first is a large, barrack-like cell containing a group of terrified, disheveled aristocrats awaiting execution. An ancient, demented duchess with grand manners, wearing a decaying, extravagant hat and ball-gown, is serving imaginary tea to imaginary guests. (She is the living version of the Woman With Hat.) Two men are sitting in a corner, quietly talking. Most of the other prisoners are lying on straw pallets, trying to sleep. Stone steps with iron railings lead to a walkway and a second level of smaller cells, the barred doors of which are visible.)
Synth.
8ba
Piano
8ba
Harp
I (con sord.)
Vn. II
(con sord.)
Va. con sord.
al sord.
Vc. 2 soli, div.
Cb.
538
1 Fl. 2
Ob.
1
E.H.
Cl. in B
1
Bs. Cl. slow quarter-tone oscillation
Bn.
1 poss.
Cbn. fltg.
slow quarter tone oscillation + - - - O - - - + - - - O - - - + etc.
fltg.
slow quarter tone oscillation O - - - + - - - O - - - + - - - O etc.
1 poss.
Hn. in F
sim.
2 poss.
1 Tpt. in C 2 take straight mute
1 Tbn.
take straight mute
2
Timp. Crot. (slightly faster than Celesta) (4-5 sec.)
1 = ca. 60, even Glock.
Perc.
(4-5 sec.)
2 Celesta
(slightly faster than Glock.) (3-4 sec.)
3 (slightly faster than Glock.) (celesta) (3-4 sec.)
Synth.
white key gliss.
delicato
Piano
L.H.
Harp
(The Duchess is seen chatting with imaginary guests. She walks forward.) Duchess:
Duchess
I am very well, my dear Marquis.
senza sord. pizz.
8va
1 solo *
I Vn. II via sord.
Va.
Vc. (1 solo)
Cb. (altri) altri, div., pizz., vib. *repeat ad lib., change order of figures, repeat some figures twice occasionally.
arco
8va
pizz.
arco
77
539 = ca. 108
1 Fl. 2
Ob.
1 to Oboe
E.H.
Cl. in B
1
Bs. Cl. sim.
Bn.
1
Cbn.
sim.
1 Hn. in F 2 with straight mute
1 Tpt. in C 2 with straight mute
1 Tbn. 2 Tamb.
Ratchet
Timp. (Crot.)
1 (Glock.)
Perc.
2 (Celesta)
3
Synth.
Piano
Harp
(To imaginary servant.)
(She walks away, chatting.)
Duchess
Would you
like
a
cup
of
tea?
Ma de
leine,
bring Mar
guer ite some
choc’
late.
= ca. 108 Vn. I solo
div., con sord.
Vn. I gli altri div. (con sord.)
unis.
Vn. II pizz., senza sord.
al sord.
arco, con sord.
Va. (con sord.)
Vc.
Cb.
540 slow quarter-tone oscillations
1 Flute slow quarter-tone oscillations
Fl. 2
1 Ob. 2
Cl. in B
1 *
Bs. Cl.
Bn.
1 Contrabassoon
Cbn.
1 Hn. in F 2
1 Tpt. in C 2 * with straight mute
1 Tbn.
* with straight mute
2 B.D.
Timp. ** (Crot.)
1 ** (Glock.)
Perc.
2 ** (Celesta)
3
Synth.
Piano
Harp
(reacting to a bitchy remark)
(She comes forward again‌
Duchess
Oo
long,
lai
chi,
from Nan
king.
2nd Aristocrat (Marquis):
(laughter)
2nd Aristocrat 8
1st Aristocrat: (to 2nd Aristocrat, handing him a letter.) slow and free
How could I my friend? No one sur vives a vis it
1st Aristocrat
If you should sur vive to mor row, please give this to my wife. It is my last re quest. (1 solo)
I Vn. II
Va.
Vc.
Cb. * Play indicated dynamics ad lib. Pause between each articulation. Do not synchronize. ** Percussion (Glock., Crot., Celesta) stops shortly after downbeat but lets sound continue.
78
541 = 108
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl. sim.
Bn.
1 poss.
Cbn.
+ - - - O - - - + - - - O - - - + etc.
1 poss. O - - - + - - - O - - - + - - - O etc.
Hn. in F 2
poss.
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 = ca. 60 Glock.
Perc.
2 Cel.
3 (celesta)
Synth.
Piano
Harp
(breathy, sexy)
…to another “guest”.) 3
3
Duchess
She was
wear ing
a
gown
of
red
Pe kin,
trimmed
with
ti
ny white
Marquis 8
to
the
guil
= 108
lo
tine.
1 solo
I Vn.
(con sord.)
II
Va.
Vc. 2 soli, div., pizz.
Cb.
3
3
rose
es.
It was ex quis ite.
542
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2 (with straight mute)
1 Tpt. in C 2
1 Tbn. 2
Timp. Crot.
1 (Glock.)
Perc.
2 (Cel.)
3
Synth.
l.v.
Piano l.v.
l.v. 3
Harp l.v.
3
(reacting to a compliment)
slowly change to free speech
(walking away again)
3 3
Duchess 3
I’m so
fond of
ru bies.
Grand moth er gave them to me.
She lived to a hun dred and three,
(1 solo)
I Vn.
(con sord.)
II (con sord.)
Va. (con sord.)
Vc. (con sord.)
Cb.
and drank on ly wine.
But say what you
543
79 1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl. molto
Bn.
1 molto
Cbn. molto
take straight mute
1 Hn. in F
molto
take straight mute
2 take whispa mute
molto
1 Tpt. in C 2 (with straight mute)
remove mute
1 Tbn.
molto
(with straight mute)
remove mute
2 molto B.D.
Timp. (Crot.)
slowly become sparser and sparser
(Glock.)
slowly become sparser and sparser
(Cel.)
slowly become sparser and sparser
1
Perc.
2
3
Synth.
Piano
Harp
(to Gossip)
(Becoming more and more distant)
(A cell door rattles.)
(The cell door bangs open. Wilhelm, backed by a group of guards, pushes the Almaviva group into the cell. The Duchess freezes and stares at Wilhelm and the guards… and retreats into the shadows.)
Duchess
will,
(cell door) Wilhem:
Diane’s trout were divine… …Shocking, my dear. And with a Bishop? (laughter)
(to Rosina, pulling her by the arm.)
Wilhelm
In you go, aristocrats. (1 solo)
slowly become sparser and sparser
Here, you stay with
al sord.
I Vn.
via sord.
II molto
via sord.
Va. molto
div.
via sord.
Vc. tutti, arco senza sord.
molto
div. (1) gliss.
Cb. molto
(2-3)
sub.
544
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2 open
1 Tbn.
open
2
Timp.
1 Sus. Cym.
Perc.
2 B.D.
3
Piano
Rosina and Susanna: (ad lib.)
(Almaviva pushes Wilhelm away from Rosina and then stands between them.)
Rosina Susanna
Leave him alone! Florestine: (ad lib.)
Florestine
Don’t hurt him! (ad lib.)
Wilhelm
me, Countess.
No! No! jeering
(ad lib.)
Guards
Countess… Countess… Countess… (etc.)
No! No! Lèon: (ad lib.)
Léon 8
Almaviva: (with great force)
Almaviva 8
Don’t you touch her!
I Vn.
senza sord.
II
senza sord.
Va.
senza sord.
Vc.
Cb.
Don’t hurt him!
545
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2 take straight mute
1 Tbn.
take straight mute
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Wilhelm holds up his hand to silence them.) sweetly
(to Almaviva)
Wilhelm
Don’t worry, I won’t harm him. He’s a special guest of Citizen Bégearss.
I Vn. II
Va.
Vc.
Cb.
Perhaps he’ll invite you to join our gracious queen.
546
80
= 60
1 Fl. 2
1 desolato
Ob.
Oboe
2
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Wilhelm leads the guards off, banging the door shut behind them. The Almaviva group looks around disconsolately. Almaviva sits on a bench near the door, staring at the floor. With a sigh, Rosina sits next to him. Florestine and Léon go to another bench nearby. Susanna stands. Silence.)
(Wilhelm points to 2nd level and dangles his keys.)
Wilhelm She’s staying in the royal suite.
Upstairs.
They say
she’s leaving for a long voyage in the morning. Sleep well, aristocrats.
= 60 I Vn. II
Va.
Vc. unis.
Cb.
547
1 Fl. 2
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.
1 cue: Prison Door bangs shut
Perc.
2 4-5 seconds B.D.
(do not synchronize with vocal entrances.)
3
Piano
(The door bangs shut.)
(Almaviva doesn’t look at Rosina.) lunga Florestine: (to Susanna)
(Almaviva still does not respond.)
(After a long pause, Almaviva looks up at Léon.)
Florestine lunga
Rosina: (to Almaviva) slowly
He could have been hurt.
Rosina
You were ve ry brave.
Susanna: (to Florestine)
lunga
Susanna
His on ly thought was for your moth er. lunga
Léon: dolce
lunga
Léon 8
I am proud of you, Fa ther. Almaviva: lunga
Almaviva 8
You can still call me father after the way I’ve treated you? I am so ashamed.
(Sound cue: Prison Door bangs shut.) Door
I Vn. al sord.
II al sord.
Va. al sord.
Vc. al sord.
Cb.
548
81
= 60
solo
1 3
Fl.
3
3
3
2
1 Ob. 2 solo
Cl. in B
1 3
tenderly
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(LĂŠon falls to his knees in front of Almaviva and embraces him.)
Rosina
It is I who caused you
(to Rosina) dolce
pain.
Almaviva 3
8
= 60
I div., con sord.
I Vn.
div., con sord.
II div., con sord.
Va. 3
Vc.
Cb.
beg your for give ness.
I was ar ro gant
and
549 = 1 3
Fl. 2
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.
1
Perc.
2
3
Synth.
Piano
Harp
(LĂŠon and Forestine approach Almaviva and Rosina. Susanna joins them. They embrace each other for a moment.)
(Rosina and Almaviva embrace.)
Rosina
I
was fool
ish and
vain.
tenderly
Almaviva 8
3
pride
(div.)
I Vn. (div.)
II (div.)
Va.
Vc.
Cb.
ful.
You were lone
ly.
Ro
si
na.
=
550
82
Quintet and Miserere Adagio
= 60
1 Fl. 2
1 Ob. 2
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn. with straight mute
1 Hn. in F
with straight mute
2
1 Tpt. in C
take whispa mute
2 (with straight mute)
1 Tbn.
(with straight mute)
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Rosina poss.
floating
Almaviva 8
3
O
Adagio
God
of
love,
O
Lord
of
light,
Re
= 60
I Vn.
(div., con sord.)
II
(div., con sord.)
Va. div., con sord.
Vc. con sord.
Cb.
deem
ing,
em
brac
ing
Sa
vior,
Thank
551
83 1 Fl. 2
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.
1
Perc.
2
3
Synth.
Piano
Harp
floating
Rosina
O
God
of
love,
O
Lord
of
light,
Re
deem
ing,
em
Almaviva 8
you
I Vn.
(div.)
II
(div.)
Va. (div.)
Vc.
Cb.
for
this
mo ment
of
peace.
Storm and fire
ov er whelm
me,
552
1 Fl. 2
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.
1
Perc.
2
3
Synth.
Piano
Harp
poss.
Rosina
brac
ing
Sa
vior,
Thank
you
for this
mo ment
of
peace. (ossia: 8ba)
Almaviva 3
8
Fear and death
are
at
my
door,
I Vn.
(div.)
II (div.)
Va. (div.)
Vc. div.
Cb.
But
the thought of these dear
fac
es
Brings me
3
rest in this
553 rall.
84 a tempo
1 Fl. 2
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.
1
Perc.
2
3
Piano
Florestine:
Florestine 3
O
God
of
Love,
O
Lord
of
light,
Re
deem
ing,
em
brac
ing
Sa
vior,
Rosina
O
God
of
Léon:
Léon 3
8
O
God
of
Love,
O
Lord
of
light,
Re
deem
ing,
em
brac
ing
Sa
vior,
Almaviva 8
3
time
rall.
of
(div., con sord.)
I Vn. (div.)
II
(div.)
Va.
(div.)
Vc. unis.
Cb.
3
war.
a tempo
O
God
of
554
85 1 Fl. 2
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.
1
Perc.
2
3
Piano
Florestine
Rosina
love,
O
Lord
of
light,
Re
deem
ing,
em
brac
ing
Sa
vior,
Susanna
Storm and fire
ov er whelm me.
Fear and death
are at my door,
But
the thought
of these dear
fac
es
Brings me
LĂŠon 8
Almaviva 8
love,
O
Lord
of
light,
Re (div.)
I Vn. (div.)
II (div.)
Va. (div.)
Vc.
Cb.
deem
ing,
em
brac
ing
Sa
vior,
555
1 Fl. 2
1 Ob. 2 to Clarinet in A
Cl. in B
1 to Clarinet in A
Bs. Cl.
Bn.
1 to Bassoon
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Piano
(A candle is lit in one of the cells above, casting the flickering silhouette of a woman on the opposite wall. She is not seen.)
Florestine
Thank
you
for
this
mo
ment
of
peace.
Rosina
Thank
you
for 3
this
mo
ment
of
peace.
3
Susanna
peace
in
this
time
of
war.
Thank
you
for
LĂŠon 3
8
in
3
this
time
of
war. 3
Almaviva 8
in unis.
I Vn. unis.
II
(div.)
Va.
unis.
Vc.
unis.
Cb.
this
time
this
556
86 1
Fl. 2
1 cold
Ob. 2
cold
1 Cl. in A 2
1 cold
Bn.
Bassoon
2 cold
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Piano
Harp
= ca. 72–76, freely Marie Antoinette:
(in the cell.)
M.A.
Please hear my last prayers that You will re ceive my soul.
I ask for give ness of those I have known for the sor row I have caused them.
Susanna
mo
ment. (Almaviva hears Marie Antoinette and cuts off abruptly, looking up.)
(Almaviva runs up the stairs and falls to his knees in front of Marie Antoinette’s door.) with wonder
3
Almaviva 8
I Vn. II
Va.
Vc.
Cb.
of
Your Maj es ty!
557
1 Fl. 2
1 Ob.
to English Horn
2
1 Cl. in A 2
1 Bn.
to Contrabassoon
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Chimes
1
Perc.
2
3
(ORGAN)
Synth.
Piano
Harp
a tempo ( = ca. 72–76) flowing
M.A.
I for give my en e mies the e vil they have done me.
I Vn. II
Va.
Vc.
Cb.
I say fare well to my fam i ly and friends. A dieu,
a dieu. Mis e re re me i,
De
us,
558
1 Fl. 2
Ob.
1
E.H.
1 Cl. in A 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Chimes
1
Perc.
2
3
Synth.
Piano
Harp
slowly growing more intense
M.A.
se cun dum mag nam mi se
I Vn. II
Va.
Vc.
Cb.
ri cor
di am tu
am.
De le
in
i
qui ta tem me
am,
et
a pec ca to ma o mun
da me;
559
1 Fl. 2
Ob.
1
E.H.
1 Cl. in A 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Chimes)
1
Perc.
2
3
Synth.
Piano
Harp
push forward
rall.
M.A.
et
I Vn. II
Va.
Vc.
Cb.
pec
ca
tum
me
um
con
tra
me
est sem
per,
et
in
pec
ca
tis
con
ce
pit
me
ma
ter
560
87
= 60
1 Fl. 2
Ob.
1
E.H. (C major 7)
*Clarinet in A (A major)
1 Cl. in A
legatissimo *Clarinet in A (A major)
2 legatissimo
Bn.
1 Contrabassoon
Cbn.
(with straight mute)
1 Hn. in F
(with straight mute)
2 with whispa mute
1 Tpt. in C 2 (with straight mute)
1 Tbn.
(with straight mute)
2
1 Chimes
Perc.
2
3
Synth.
sim.
Play only D G A C
Harp
*
legatissimo = 60
M.A. 3
me
a.
In
3
3
cer
ta
et
oc cul
ta
3
sa pi ens ti ae tu
ae
= 60
Almaviva 8
3
O
God of
love,
O
Lord
of
light,
Re
deem
= 60 I Vn. div.
II
(div.)
Va.
(div.)
Vc.
Cb. *Play free waves of arpeggios on the given chord tones. Start niente, crescendo, then fade to niente. All should be legatissimo, blurred, and asynchronous. Never extend to ranges that cannot be played pianissimo. Play at any speed, but always sound ethereal and never tense.
ing,
em
brac
ing
561
88
(A Major) * AC E
sim.
1 legatissimo
Fl.
sim.
(A Major) * A C E
2 legatissimo
Ob.
1
E.H. (A Major) AC E
sim.
1 Cl. in A
legatissimo (C Major 7)
(A Major)
sim.
AC E
2 legatissimo
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C
(with whispa mute)
2
Tbn.
1 2 Vib. (play only E, G , B) Perc. 1 soft sticks
Chimes
Perc.
Perc. 2 Chimes
2 legatissimo Ped. (bns., brass)
Synth.
8ba
Piano
Play only EG B
(E Major)
sempre una corda e pedale
Play only EG B
Harp
Play only D G A C
M.A.
la
3
ma ni fes tas
ti
mi
va bis me,
hi;
Florestine
O
God
of
love,
O
Lord
of
light,
O
God
of
love,
O
Lord
of
O
God
of
love,
O
Lord
of
light,
O
God
of
love,
O
Lord
of
light,
Rosina
light,
Susanna
LĂŠon 8
Almaviva 8
Sa
vior,
Grant
her
but
a
mo ment
of
peace.
Storm and fire
o ver whelm her, (1-3) (4-5)
I
(6)
Vn. (div.)
II
div. a3 (1) (2-3) (4-6)
(div.)
div. a2
(div.)
(div.)
Va.
Vc.
Cb. *Play free waves of arpeggios on the given chord tones. Start niente, crescendo, then fade to niente. All should be legatissimo, blurred, and asynchronous. Never extend to ranges that cannot be played pianissimo. Play at any speed, but always sound ethereal and never tense.
div. a3
562 (C E G B)
1 Fl.
(C E G B)
2
Ob.
1
E.H. (C E G B)
1 Cl. in A
(C E G B)
2
Bn.
1
Cbn. Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2 Vib.
(F Major: FAC)
1 (E GB D )
Perc.
Pedal
Pedal
2
Synth.
8ba
(E 7: E GB D )
Piano
(F Major: FAC)
(F Major: FAC)
Harp
espr. M.A.
et su
3
3
per
ni vem de
al
ba
bor,
et solo
ex sul ta
bunt
os
sa hu mi li
a
ta,
Florestine 3
sub.
solo
Re
deem
ing,
ior, bring her rest
em
brac
ing
Sav
em
brac
ing
Sav
ior,
Thank
em
brac
ing
Sav
ior,
Thank
3
in this time
of
Rosina
Fear and death
are at the
door.
you
for
this
mo ment,
O
for
this
mo ment,
O
Susanna
Re
deem
ing, sub.
you
solo
LĂŠon 8
Re
deem
ing,
Re
deem
ing,
Let
thethought of these dear
fac
es.
Thank
you
Almaviva 8
em
brac
ing
Sav
ior,
Thank
(div.)
div. a2
(div.)
div. a2
(div.)
(div. a2)
I Vn. II
Va. (E GB D ) (div.)
(div.)
Vc. div.
Cb.
you
563
89 (A Major: AC E)
1 Fl.
(A Major: AC E)
2
Ob.
1 English Horn soli
E.H.
(A Major: AC E)
1 Cl. in A
(A Major: AC E)
2
*
Bn.
1 *
Cbn. soli, open
1 Hn. in F
*
2
Tpt. in C
1 2
Tbn.
1 2
Perc.
2
*
*
(Chimes)
Synth.
Piano
Harp
M.A.
Mi se re re me i,
De
us.
A
men.
Florestine
war.
Thank
you
for
this
mo ment
of
peace.
Lord,
Thank
you
for
this
mo ment
of
peace.
Lord,
Thank
you
for
this
mo ment
of
peace.
8
Lord,
Thank
you
for
this
mo ment
of
peace.
8
Lord,
Thank
you
for
this
mo ment
of
peace.
Rosina
Susanna
LĂŠon
Almaviva (div.)
I Vn. (div.)
II (div.)
Va. (div.)
Vc. (div.)
Cb. * Only if needed for breath; if not, hold until the dim. to niente.
*
564
90
solo
1 Fl. 2 soli
Ob.
1 3
to Oboe
E.H. (C E G B)
to Clarinet in B
(C E G B)
to Bass Clarinet
1 Cl. in A 2
Bn.
1
Cbn.
3
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (F Major: FAC)
Vib. (E GB D )
1
Pedal
Perc.
Pedal
2
3
Synth.
(E 7: E GB D )
Piano
(rall.) Play only D GB C
Harp
(F Major: FAC)
(Marie Antoinette blows out her candle. Almaviva returns to the lower level. The prisoners make themselves as comfortable as possible and go to sleep. From the sky through the barred windows, morning gradually dawns.) (1-3) div. a3
I (4-5) (6)
Vn.
div. a3 (1-3)
unis.
II (4-5) (6) div. a2
div. a2
div.
div. a2
Va.
Vc. unis.
Cb.
565
1 Fl. 2
1 Ob. 2 Clarinet in B
Cl. in B
1 rude
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F
remove mute
2 take harmon mute
1 Tpt. in C
take harmon mute
2 remove mute
open
1 Tbn.
remove mute
2
Timp. (Vib.)
1 Chimes
Perc.
2 B.D.
3
Synth.
Piano
Harp
(Susanna awakens suddenly as a cock crows. She looks around.)
(She starts to relax again.)
div.
I Vn.
3
3
div.
II (div.)
Va. (div.)
Vc. non vib.
Cb.
566
91 1 Fl. 2
1 Ob. 2
Cl. in B
1 Bass Clarinet
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn.
open
2
Timp.
1
Perc.
2 (B.D.)
3
Synth.
Piano
Harp
(But the cell door starts to slowly creak open, and, as she watches, two ominous, cloaked figures enter.) (div.)
I Vn.
(div.)
II (div.)
Va. (div.)
Vc. 1 solo
Cb. gli altri 1 solo
567
1 Fl. 2
1 Ob. 2
Cl. in B
1 to Clarinet in B
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2 with harmon mute
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Harp
(The other prisoners have awakened by now.) Florestine:
Florestine
I’m fright ened. Rosina:
Rosina
Fare well,
Susanna:
my faith ful
friend.
Susanna
We are
fi
nished.
Léon:
Léon 8
At least unis., non vibrato
I Vn. II
Va.
Vc. div.
1
Cb. div.
2-3
non vibrato
slow gliss.
non div. non vibrato
slow gliss.
non div. non vibrato
slow gliss.
non div. non vibrato
slow gliss.
slow gliss.
slow gliss.
we
568
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1 to Bassoon
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Harp
Susanna
I
wish
Fi
ga
ro
were
here.
LĂŠon 8
shall
die
to geth
er.
Almaviva: (holding Rosina)
Almaviva 8
I Vn. II
Va.
Vc. div.
Cb. div.
Stay
close
to
me.
569 * (B major scale notes)
1 * (C major scale notes)
Fl.
to Piccolo
2
1 Ob. 2 * (F major scale notes)
1 Cl. in B
* (E major scale notes) Clarinet in B
2
1 Bn.
Bassoon
legato
2 legato
a2, open
Hn. in F
1 2 (with harmon mute)
1 Tpt. in C
with harmon mute
2
1 Tbn. 2
Timp. Crot.
1
Xyl.
Perc.
2 etc. (B.D.)
Wind Machine
3
(blowing wind sound)
Synth.
**
etc.
Piano
l.v. sempre
E FG A BC D
Harp
(The figures approach Almaviva.) Figaro (disguising his voice):
Figaro
Al
ma vi
a,
pre pare
to meet your mak
I Vn. II
Va.
Vc. unis.
Cb.
* Flutes and Clarinets play rapid waves of scales up to their highest note. ** Piano improvises chromatic descending arpeggio-like figures.
er.
570
92 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F
legato
2 legato
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 (Xyl.)
Perc.
2
3
Synth.
Piano
Harp
Almaviva: free, blustering
Almaviva 8
See here,
how dare
you dis turb
our
sleep?
We are the
pri vate pri son ers of
Ci ti zen
BĂŠ
gearss.
I Vn. II
Va. div. a2, many free bows
div. a3 (2) (1) (3-4)
Vc. div., many free bows
div. a3
Cb. 1 2-3 poss.
div. a2
div. a3
div. a2
div. a3
div. a4
571
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 Temple Blocks
Perc.
2
3
Synth.
Piano
Harp
Almaviva 8
You
can’t
fright en me.
If
you don’t
with draw
im
me
di
Figaro:
Figaro
The private prisoners of citizen Bégearss. Ha, ha, ha.
(eerie sounds)
sul ponticello, non vib.
I unis., sul ponticello, non vib.
Vn. II
unis., sul ponticello, non vib.
Va. slow, quartertone vibrato
(div. a4)
Vc. (div. a3) *
Cb. * B glisses up to D, D glisses down to B, C remains stationary. ** Fast Morse code.
slow, quarter-tone vibrato
ate
ly,
572
Allegro Piccolo
= 144
93
Picc. 3
Fl.
1
Ob.
1 2
3
a2
3
Cl. in B
1. 3
secco
3
1 2
3 3
1 Bn. 3
2
1 Hn. in F
3
3
3
3
*
2
remove mute
1 3
Tpt. in C
3
3
remove mute
(with harmon mute)
2 3
8va
3
3
1 Tbn.
3
3
3
3
2 Timpani
Timp. B.D.
1 (T. Blks.)
Perc.
Xyl.
2 Ratchet
3
Piano
3 3
Harp
Florestine:
Florestine 3
Rosina:
Fi ga ro!
Rosina 3
Susanna:
Fi ga ro!
Susanna 3
Fi ga ro!
Duchess: (to Beaumarchais)
Duchess
Would you like a cup of
Léon:
Léon 3
Fi ga ro!
8
Almaviva
(spoken)
3
I
8
shall be
forced
to
Fi ga ro!
You Idiot!
(Figaro pulls back Almaviva’s head.)
Figaro
Stop! Don’t you recognize your old Figaro?
ord.
Allegro
= 144 div.
I
3
ord.
Vn.
div.
II
unis., pizz. 3
ord.
div.
Va. 3
unis.
div.
3
Vc. unis.
Cb.
div.
3
573
94 Slower
= 108
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 (Xyl.)
Perc.
2 Ratchet
3
Piano
non arp.
Harp
Duchess
tea?
(seeing the key)
Léon 8
How did you get it?
Beaumarchais:
Beau.
No, thank you. (Figaro dangle a large key.)
Figaro
We’ve come
Slower (div.)
I Vn.
arco
II (div.)
Va.
(div.)
Vc.
Cb.
= 108
3
to lead you
to
free
dom.
Bri be ry,
Lar ce ny,
and a lit tle
vi o lence.
But we
574
95 Picc.
Fl.
1
3
1 Ob. 2
1 Cl. in B 2
1 3
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Piano
Harp
Almaviva:
Almaviva 8
3
What can we
Beau. 3
What will we freely
Figaro
have n’t the key
I Vn. II
Va.
Vc. unis., pizz.
Cb.
to her ma jes ty’s cell…
Wil helm has it.
do?
do?
575
96 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
3
sub.
Susanna
Wil helmhas it?
Wil helm?
Almaviva 8
Wil
helm
has
the key.
I Vn. II
Va.
Vc. (pizz.)
Cb. dolce
3
You men
can rest
now.
Let the wom en do some
576 Slower Picc.
Fl.
1
3
1 Ob. 2
1 3
Cl. in B 2
1 3
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Harp
(actual pitch)
(Susanna, Rosina, and Florestine have a little conference. They laugh and titter under the men’s lines. The men descend the stairs.) (ad lib.)
Florestine
(titters, etc.) (ad lib.)
Rosina
(titters, etc.) (ad lib.)
Susanna
work.
Come, ladies.
(titters, etc.)
Léon: (to Almaviva)
Léon 8
I’m
a fraid the game is
o
ver.
Almaviva 8
All
Slower
is lost,
dear Fi
ga ro.
I 1 solo
Vn. II
1 sola
Va. 1 solo
Vc. gli altri
div., arco
Cb.
577 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
Perc.
2 Trg.
3
Piano
Harp
(The women break for action.)
Florestine dolce
(Calling through the cell bars.)
sub., dolcissimo
Rosina
Oh, Susanna Figaro:
Figaro
Not with my Su san na
in com mand.
Just
watch. 1 solo (actual pitch)
I Vn. II
Va. tutti, pizz.
Vc.
Cb.
Wil
helm!
Wil
helm.
578 *
1
Fl.
asynchronous *
2
asynchronous
1 Ob. 2 *
1 Cl. in B
asynchronous *
2
asynchronous
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Glock. l.v.
1
Perc.
2 Trg.
3
Piano
* gliss.
EF G A BCD
Harp
(Rosina puts her hand over Almaviva’s mouth. Wilhelm appears.) Wilhelm:
(Rosina pretends that she is about to faint.)
Wilhelm Almaviva:
You called, countess?
Almaviva 8
Rosina, what are you doing?
I Vn. II
Va.
Vc.
Cb. * Flutes, Clarinets and Harp follow shape and cresc., and dim. marks with scales in the given “key” (D, E, F , G , A, B, C) Play legato, as fast as possible, non-synchronized.
579
1 Fl.
to Piccolo
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
Piano
Harp
l.v.
Florestine:
Florestine
We can’t un tie the (opening her bodice) **
Rosina
Oh,
help
me,
help
(p), some one help!
I *
Susanna
My mis tress feels faint.
I tutti, div.
Vn. II tutte
Va.
Vc. (div.)
Cb. *Susanna speaks in a high pitch, imitating Rosina. **Ossia :A
can’t
breathe.
Ensemble
580
Allegro
97
= 144
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
Glock.
1
Perc.
2
3
Harp
(The women fall into provocative poses as Wilhelm enters the cell. Almaviva, Beaumarchais, Figaro, and LĂŠon step out of the light.)
Florestine
knot.
Look
her breath ing
Rosina (to Wilhelm)
Susanna
For the love of God, Go
to
her.
Wilhelm: (brandishing a pistol)
Wilhelm
No tricks now, or you’ll regret it. tutti, div.
Allegro
= 144
(div.)
I Vn.
(div.)
(div.)
II
Va. pizz.
Vc. (div.)
Cb.
unis., pizz.
is
di
581 to Flute
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 open
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Piano
Florestine
min ished. Rosina
An
oth er
se cond and
I
will be
fi
nished. (aside to Rosina)
Almaviva 8
Ro
si
na!
Beaumarchais: (to Figaro)
Beau.
Your wife is bold er than I thought her. Figaro:
Figaro
She’s your i
8va
dea you must have
(div.)
I (actual pitch)
Vn.
(div.)
II pizz.
arco
non div., pizz.
(actual pitch)
Va.
non div., pizz. arco
Vc.
arco
Cb.
pizz.
582
98
a2 Flute
Fl.
1 2
Ob.
1 2
Cl. in B
1 2
Bn.
1 2
a2
a2
1 Hn. in F
open
2
1. and 2 open
Tpt. in C
1 2
opt. straight mute
1 Tbn.
opt. straight mute
2 hard sticks
Timp.
(cls. bns., pno.)
Synth.
Piano
Harp
dolce
Florestine
A man like you is hea ven Rosina 3
Please,
o pen my
bo dice.
Wilhelm:
Wilhelm Léon:
My, stom ach’s turn ing in to
wa ter.
I don’t knowwhat to
do!
Léon 8
My stom ach’s turn ing in to
wa ter.
Figaro div.
taught her.
unis.
1 2 staccatissimo unis.
div.
Vn. I
3 4 staccatissimo unis. div.
5 6 staccatissimo
1 staccatissimo div.
unis.
2 3 staccatissimo div.
Vn. II 4 5 staccatissimo
6 staccatissimo arco
Va. staccatissimo arco
Vc. arco
Cb.
unis.
583 a2
Fl.
1 2
Ob.
1 2
Cl. in B
1 2
Bn.
1 2
2. to Flute
1.
1.
1 Hn. in F
open
2
Tpt. in C
1 2
1 Tbn. 2
Timp. Cast.
T.-t.
1 Tamb.
Perc.
2 B.D.
3 (tbns., pno.)
Synth.
Piano
(The women surround Wilhelm.)
Florestine
sent.
(t)
(to Wilhelm)
(stroking his face)
Susanna (shouts)
(he plugs his ears)
Don’t be so be
Wilhelm
Let me out of here! Léon Almaviva: (to Léon)
8
It’s just a small di ver tisse
ment.
Almaviva 8
A wife should be o be di
ent.
Beaumarchais: (to Figaro)
Beau 8va
These wom en are mag ni
div.
fi
cent!
div.
non div.
1 2 8va
non div.
staccatissimo
8va
non div.
staccatissimo
div.
Vn. I
3 4 div.
5 6 staccatissimo
8va
1 non div.
8va
staccatissimo
div.
Vn. II 2-5 staccatissimo
8va
6 non div., pizz.
arco
Va. non div., pizz.
arco
Vc. pizz.
Cb.
div.
arco
staccatissimo
div.
584
99
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 2
Tbn.
rim shot S.D.
Perc.
2
(strings)
Synth.
Piano
(stroking Wilhem’s pistol)
Florestine
What a piece of
arm a ment!
She’s giv ing up the
(revealing some leg)
Rosina
Help!
(aside, to Florestine)
Susanna
li
ge rent.
Look,
her face is turn ing
white.
Wilhelm div. a3
No!
1-3 div. a3
Vn. I 4-6 div.
1-2 div. 4.
Vn. II 3-4 div.
5-6 div.
Va. div.
Vc.
Cb.
585
Picc.
Fl.
1
Ob.
1 2
1 Cl. in B 2 a2
Bn.
1 2
quasi gliss.
sim.
1 Hn. in F
(quasi gliss.)
2 brassy
1 Tpt. in C 2 quasi gliss.
1 Tbn. 2 with hard sticks
Timp. B.D.
Perc.
3 secco (tuba)
Synth.
Harp
Florestine
fight.
Ah!
Rosina
Com
mend me to your sight,
Ah!
Susanna
Ah!
overjoyed
LĂŠon 8
Oh,
aroused
Fa ther, what a
night!
Almaviva 8
She is
do ing
it for
spite. Beaumarchais:
Beau.
A
unis.
wom
div.
I Vn.
div.
unis.
II
(div.)
unis.
Va.
(div.)
unis.
non div., pizz.
Vc. div., pizz.
Cb.
an free
is man’s
de
586 rall.
to Flute
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2 (a2)
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
Timp. Xyl.
1 Perc.
(B.D.)
3
Synth.
Piano
E B C
Harp
(swooning)
Florestine
You’re
so
strong.
(swooning)
Rosina
And such a
(to Wilhelm, arms outstretched, intense)
man.
(swooning)
Susanna
You
must
go
to
Ah!
her.
(shouts)
Almaviva
Rosina, how can you!
8
Beau.
light. Figaro
And what’s a
bitch with
out
a
bite?
rall.
(t)
div.
*
I div.
Vn.
non div.
div.
*
II non div.
div.
*
Va. div.
arco
Vc.
div., arco
Cb.
* Glissando for full value of the half-note, continuing tremolo, and diminuendo al niente.
unis.
*
587
100 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. Xyl.
1 S.D.
Perc.
2
3
Synth.
Piano
Harp
free, sultry
(Wilhelm goes to touch Rosina’s bosom. Without realizing it, he hands his pistol to Susanna, who immediately knocks him senseless with it. Dropping the gun, she snatches his key ring and throws it to Almaviva.)
Rosina Wilhelm: (seduced)
Please‌
Wilhelm
Do you think so? unis.
I Vn.
div.
II
Va.
Vc. unis.
Cb.
588
Adagio (next page) Superimposed Here 1
Fl. 2
1 Ob.
to English Horn
2
1 Cl. in B
to Clarinet in E
2 a2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
Bassoon 2 to Contrabassoon
a2
a2
Timp. (Xyl.)
1 (S.D.)
Perc.
2 B.D.
3
Synth.
8va
Piano
(Almaviva runs towards the stairs leading to Marie Antoinette’s cell. The Queen has lit her candle, again casting a silhouette.)
(Adagio superimposed here.)
(sound cue: door slam.)
(to Almaviva)
Susanna
So much for endless talk. Free her Majesty.
(Bégearss appears. He and his men stand at the head of the stairs.) Bégearss:
slow
(to Almaviva, spoken)
Bégearss 8
3
No
es
cape.
My dear Count, you disappoint me. (coming to, and crawling to Bégearss)
Wilhelm
Oh, Master, they tricked me. Will you ever forgive me?
Figaro:
Figaro
This way.
I (div.)
Vn.
II
Va.
Vc. non vib.
Cb.
589
101
Adagio * 1
to Piccolo
Fl. 2
Ob.
1 English Horn
to Oboe
E.H. dolce
Cl. in B
1 Clarinet in E
to Clarinet in B
Cl. in E
Bn.
1 Contrabassoon
to Bassoon
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3 (tutti orch.)
Synth.
Piano
Harp
dolce
(Wilhelm smiles, relieved, and kisses Bégearss’ hand.)
(They seize him.) whimpering
Wilhelm
Thank you… Thank you.
No… please.
(Bégearss pulls his hand away, suddenly.) coldly
(pleasantly)
(to guards, pointing at Wilhelm)
Bégearss 8
Of course I forgive you.
Adagio *
But the Re vo lu tion div.
I sub.
Vn. unis.
div.
II sub.
Va.
Vc. sub.
Cb.
*To synchronize with the dialogue, the tempo is closer to Andante.
sub.
does not. You are un fit
to serve her.
3
Seize him!
590 (Adagio*) 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
Piano
Harp
ad lib.
Florestine ad lib.
Murderer!
Rosina ad lib.
You traitor!
Susanna ad lib.
Monster!
Almaviva 8
Murderer! (to Almaviva)
Beáearss 8
And now, my friend, about that little matter we discussed: your daughter’s hand or death to you and your
(Adagio*) I Vn. II 4 soli, div. a4
Va.
Vc.
Cb. *To synchronize with the dialogue, the tempo is closer to Adagissimo.
family…
… your answer…
591 Allegro
= 144
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F
sub.
2 sub.
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
Piano
(ad libs.)
Florestine (ad libs.)
Rosina (ad libs.)
Susanna (ad libs.)
Almaviva 8
laughing
Beáearss 8
That’s ridiclous. Take him away.
Figaro: (interrupting)(Points to Bégearss)
Figaro
Wait!
Allegro I Vn. II
Va.
Vc.
Cb.
I denounce that man in the name of the Revolution.
= 144
Search his coat
andyou will find the queen’s neck lace.
He has kept it for him self.
592 = 144
Piccolo
Picc.
Fl.
1
1 Ob.
Oboe
2
1 Cl. in B Clarinet in B
2
1 Bn.
Bassoon
2
1 Hn. in F
open
2 brassy
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3 (pno. cl., bn.)
(pno. tpts.)
Synth.
Piano
Wilhelm: (The guards halt and listen to Wilhelm, who is shouting by now.)
Wilhelm
It’s true!
It’s true!
He plans to sell it in London.
I know all his secrets. He hates the Revolution. All he cares about is himself, and what’s more…
Bégearss 8
He’s lying.
= 144 8va
non div. (arco)
(div.)
I 8va
Vn.
(div.)
non div., arco
non div., pizz.
II
non div., arco
tutte, non div., pizz.
Va.
non div., pizz.
non div., arco
Vc. pizz.
Cb.
arco
593
= 96
102
=
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
to Clarinet in E
2
1 Bn. 2
1 Hn. in F 2 with straight mute
take straight mute
1 Tpt. in C
take straight mute
with straight mute
2
1 Tbn. 2
Timp. Ratchet
1 Tamb.
Perc.
2 Ten. Dr.
3
Piano
(The guards look confused.) Duchess: (to Bégearss, trying to embrace him)
(The guards start to believe it.)
Duchess
Son,
my
son.
Bégearss: (pushing her away)
Bégearss 8
Get away from me!
Beaumarchais: (interrupting)
No!,
Beau.
They say his moth er was a
Duch
ess.
He’s a counterrevolutionary!
Figaro: (catching on to Beaumarchais’ plan)
Figaro
He’s a spy for the
Eng
lish.
= 96 = I Vn. II
Va. pizz.
Vc. pizz.
Cb.
594
= 144 =
to Flute
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1 Cl. in E
Cl. in E
1 Bn. 2 + - - - O - - - + - - - O - - - + etc.
sim.
1 Hn. in F
O - - - + - - - O - - - + - - - O etc.
2 (with straight mute)
1 Tpt. in C
remove mute
2
1 Tbn. 2 Tambourine
Timp.
Glock.
= 60
(4-5 seconds)
1 Crot.
Perc.
= 74
(4-5 seconds)
2 S.D.
3
(CELESTA)
= 70
(3-4 seconds)
Synth.
Piano
(The guards seize Bégearss as Wilhelm searches him for the necklace.) freely
Bégearss 3
8
No, I’m innocent!…
Let me go!
(shouts)
3
Don’t touch me!
No!
No!
Figaro
Ar pizz.
rest him!
= 144
arco
8va
pizz.
= Vn. I solo pizz.
div., arco unis.
Vn. I gli altri pizz.
div., arco
unis.
Vn. II unis.
div. (arco)
Va. (pizz.)
Vc. (pizz.)
Cb.
arco
Let me go!
=
1.
Fl.
595 accel. poco a poco
= 96
103 1 2
1 Ob. 2
Cl. in B
1
Cl. in E
1 Bn. 2 sim.
sim.
1 Hn. in F
sim.
sim.
2
1 Tpt. in C
open
to straight mute
2 to straight mute
1 Tbn.
to straight mute
2 (Tamb.)
Timp. (Glock.)
1 (Crot.)
Perc.
2 (S.D.)
3
Synth.
Duchess: (to Wilhelm, offering a cup of tea)
Duchess (gasp)
Some
tea?
(Bégearss struggles with his captors.)
Some tea?
Bégearss 3
8
Haah!
No!
No!
Guards: (freely, ad lib. phrases)
Guards
Spy! Traitor! Counter-revolutionary! To the guillotine!
Wilhelm: (holding necklace aloft triumphantly)
(Wilhelm snatches the necklace back.)
Wilhelm
You
see?
You see?
It’s
(to Wilhelm, taking the necklace from him)
Figaro
8va
= 96 pizz.
arco
=
Vn. I solo 8
div.
Vn. I gli altri
div.
Vn. II
div.
Va.
div., arco
Vc.
Cb.
Here, let me see.
accel. poco a poco
(accel.)
596 (1.)
Fl.
1 2
Ob.
1 2
Cl. in B
1
(a2)
Cl. in E
1 Bn. 2
1 Hn. in F 2 (with st. mute)
1 Tpt. in C 2 with st. mute
*
with st. mute
*
1 Tbn. 2 (Tamb.)
optional
to Timpani
Timp. (Glock.)
1 (Crot.)
Perc.
2 (S.D.)
3
Synth.
Harp
(In the confusion, Figaro starts to lead the group out the door and down the corridor.)
BĂŠgearss 8
No! I’m innocent!
No!
No!
Guards
Wilhelm
mine!
Give it back! Beaumarchais: (taking the necklace from Wilhelm)
Beau.
May I see?
(accel.) Vn. I solo 8
unis.
Vn. I gli altri unis.
Vn. II unis.
Va.
Vc.
Cb. *Slow quarter tone oscillations above and below the given pitch, asynchronous.
597
= 144
104
8va
1 Fl. 2
1 Ob.
to English Horn
2
Cl. in B
1 to Bass Clarinet
Cl. in E
1 Bn. 2
1 Hn. in F 2 *
1 Tpt. in C
* with st. mute
2
1 Tbn. 2 Timpani
Timp. (Glock.)
1 (Crot.)
Perc.
2 (S.D.)
3
Synth.
to Celesta
Piano
Harp
Bégearss 8
No! I’m innocent!
No!
No!
No!
No!
No! I’m innocent!
Guards (Almaviva is torn between freeing the queen and leaving with his family. Beaumarchais recognizes his dilemma and takes the keyring from his hand.) (to Almaviva)
Beau.
Allow me.
Figaro: Figaro
= 144
This
way!
hur ry
Vn. I solo 8
Va. unis. (arco)
Vc. staccatissimo arco
Cb. staccatissimo Slow 1/4 tone oscillations above and below given pitch, asynchronous.
quick ly!
598 = 1 Fl.
Flute
2
Ob.
1 English Horn
E.H.
Cl. in B
1
sub. Bass Clarinet
to Clarinet in B
Bs. Cl.
1 Bn.
sub.
2 sub.
sim.
+ - - - O - - - + - - - O - - - + etc.
1 Hn. in F
sim.
O - - - + - - - O - - - + - - - O etc.
2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Glock.)
1 (Crot.)
Perc.
2 S.D.
3 B.D. (bns., vc., cb.)
Synth.
= 70 Celesta
(3-4 seconds)
Cel.
Harp
(Beaumarchais takes the keys and runs up the stairs.) (Almaviva smiles and bows, then continues out.)
(Figaro ushers prisoners out the door to escape. He is still in the doorway.)
Guards (seeing Beaumarchais with necklace.)
Wilhelm
My necklace!
(Bégearss notices the escape.)
Bégearss 8
No! I’m innocent!
Fools! They’re escaping!
=
Vn. I solo Vn. I gli altri staccatissimo
Vn. II staccatissimo
non div., pizz.
staccatissimo
unis., pizz.
Va. sub.
div.
Vc. sub.
Cb.
pizz.
599
105 1 Fl. 2
Ob.
1
E.H.
1 Cl. in B
Clarinet in B
2 a2
Bn.
a2
a2
1 2 open
1 Hn. in F
open
2
1 Tpt. in C 2 a2
Tbn.
remove mute
1 2
Timp. Xyl.
1 (Crot.)
Perc.
2 Sus. Cym.
Wd.Blk.
3 (hns.)
Synth.
Cel.
to Piano
Piano
Harp
(The guards chase Figaro and the prisoners out, dragging BĂŠgearss and Wilhelm along. Figaro waves goodbye to Beaumarchais, who waves back. Figaro exits, pursued by guards.)
BĂŠgearss 8
Tet
them!
Ensemble:
S
Stop!
Stop!
Stop!
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!
Ensemble
A
T 8
B
Vn. I solo Vn. I gli altri Vn. II div., arco
unis.
Va. unis.
div., arco
Vc. arco
Cb.
0
0
pizz.
600
106 1 Fl.
3
3
3
3
3 3
3 3
3 3
3 3
3
3
2
Ob.
1
E.H. 3
3
1 Cl. in B 2
1 Bn.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
2
Hn. in F
1.
1 2
3
Tpt. in C
1 2
Tbn.
1 2
3
open 3
3
(2. ossia: 8va) 3
3
(2. ossia: 8va) 3
3
Timp. (Xyl.)
1 Glock.
Perc.
3
3
3
3
2 (Wd. Blk.)
3
Synth.
Piano
Harp
3 3
3 3
3 3
3 3
3
3
3
3
3
3
3
3
3
3 3
3 3
3 3
3
Beaumarchais:
(Beaumarchais is left alone on the stage.)
Beau.
Goodbye‌ dim. poco a poco
(offstage)
S
Stop!
Stop,
(offstage)
Fi ga ro! dim. poco a poco
Ensemble
A
Stop!
Stop,
Fi ga ro! dim. poco a poco
(offstage)
T
Stop!
8
Stop,
Fi ga ro! dim. poco a poco
(offstage)
B
Stop!
tutti
Stop,
Fi ga ro!
al sord.
I Vn. II 3
3
Va. 3
3
3
3
Vc. arco
Cb.
3
3
3
3
al sord.
601
1 Fl. 2
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 Tamb.
Timp. (Xyl.)
1 Vib.
Perc.
2 S.D.
Trg.
3
(vnc.)
Synth.
Harp
Beau.
Figaro…
Take care…
Safe
(dim.)
S
Stop!
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!
Stop!
Stop!
Stop!
(dim.)
Ensemble
A
Stop! (dim.)
T 8
Stop! (dim.)
B
Stop!
I
con sord., div. a3 1-2
3-4 5-6
Vn. II
Va. al sord.
Vc.
Cb.
602
1 Fl. 2
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.
1 (Vib.)
Perc.
2 (Trg.)
3
Synth.
Harp
(He sighs.)
Beau.
jouney…
You were my (dim.)
S
Stop!
Stop!
Stop…
Stop…
Stop!
Stop…
Stop…
Stop!
Stop…
Stop…
Stop!
Stop…
Stop…
(dim.)
Ensemble
A
Stop! (dim.)
T 8
Stop! (dim.)
B
Stop!
I Vn.
al sord.
II
Va.
Vc.
Cb.
603
107 *
1 Fl.
*
2
Ob.
1
E.H.
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
slow gliss.
Synth.
Piano
Harp
wistfully
Beau.
favorite child‌
(div. a3)
Good
bye,
Fi
ga
ro.
Good bye, Beau mar chais.
slow gliss.
I Vn.
div., con sord.
II
Va. div., con sord.
Vc.
Cb. *Flutes continue, unconducted, in same tempo, slowly fading to niente.
604
1 Fl.
to Piccolo
2
Ob.
1
E.H.
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
gliss.
Synth.
Piano
Harp
Beau.
You’ve come to the end
(div. a3)
of
your
road.
And for
the sake
of
the
ghost
gliss.
I Vn. II al sord.
Va.
Vc.
Cb.
of a wom an
who does n’t
e
ven love
you…
Slow = ca. 76
605
Piccolo
108
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Picc.
Fl.
1
Ob.
1
E.H.
1 Cl. in B 2
1 Bn. 2 solo
1 Hn. in F 3
3
3
3
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 B.D.
3 (stgs.)
Synth.
Piano
actual pitch
Harp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
dolcissimo
Beau.
But
Slow
I
love
you,
An
= ca. 76
to
ni a.
unis. (con sord.)
(div. a3, con sord.)
3
I Vn.
div. a3 (con sord.) unis.
II div. a2, con sord.
Va. div. a2 (con sord.)
non div.
Vc. con sord.
Cb.
3
3
3
606
Picc. legatissimo
Fl.
1
Ob.
1
legatissimo
legatissimo
E.H. legatissimo
1 Cl. in B
legatissimo
2 legatissimo
1 legatissimo
Bn.
2 legatissimo
1 Hn. in F 2 (with straight mute)
remove mute
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
(obs., cls., bns.)
sub.
Synth.
Piano
Harp
(to Marie Antoinette’s door.)
(The silhouette of the prisoner queen stands.) molto
Beau.
Your ma jes ty,
I Vn. II
Va.
Vc.
Cb.
I
give
you
your
life.
Be rea dy for free dom.
I
am
o
pen ing the
door.
(Beaumarchais goes to put the key in the lock.)
607
109 to Flute
Picc. poss.
Fl.
1
Ob.
1
poss.
E.H.
1 Cl. in B
poss.
2 poss.
1 Bn. 2
1 Hn. in F
open
molto
2 open
molto
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3 (tbn., tba.)
Synth.
(tbn., hn.)
(hn., tpt.)
molto
Piano
Harp
(Marie Antoinette shakes her head “no� as he tries to convince her.)
Marie Antoinette: gently
M.A.
No,
Beau mar
chais.
(Beaumarchais spins around and sees the ghost of Marie Antoinette.)
Beau.
Antonia, what are you saying?‌
She
must es
cape
for
you
to
live.
sul ponticello non vibrato (con sord.)
con vibrato
sul pont. al ord.
I sul ponticello
molto
Vn.
(con sord.)
sul pont. al ord.
II sul ponticello rough
(con sord.)
sul pont. al ord.
Va. sul ponticello
rough
sul pont. al ord.
(con sord.)
Vc. sul ponticello (con sord.)
Cb. *Contrabassoon may re-attack on cue beats if needed for breath.
sul pont. al ord.
608
1 Fl. 2
Ob.
1
E.H. **
1 Cl. in B
**
2
1 Bn. 2 ** with straight mute
take straight mute
1 Hn. in F
**
take straight mute
with straight mute
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.
take straight mute
**
with straight mute
2
Timp.
1
Perc.
2
3 ** (muted tpts.)
Synth.
Piano
Harp
Beau.
Al
ma
vi
va
brings her
to
Lon don!
The
Re
vo
lu
tion fails!
A new age dawns!
sul pont.*
I sub. sul pont.*
Vn. II
sub. sul pont.*
Va. sub. senza sord.
Vc.
senza sord.
Cb.
*Individual players ad lib. crescendi and diminuendi from and back to sul ponticello. ** Morse code.
to
and back, from sul ponticello to ordinario at top of the dynamic swell,
An to nia lives!
609 = 76 1 Fl.
Flute
2 solo
Ob.
1 (Play only if Bassoon 2 cannot.)
E.H.
1 Cl. in B 2
1 Bn. 2
1 Hn. in F
sub.
2 sub.
take harmon mute
sub.
take harmon mute
sub.
remove mute
1 Tpt. in C 2
1 sub.
Tbn.
remove mute
2 sub.
Timp.
1
Perc.
2
3
sub.
Synth.
Harp
Marie Antoinette: (spoken)
M.A.
No, Beaumarchais. It is as it should have been. tenderly
(spoken)
Beau. 3
His
to ry
as
3
it should
have
been.
= 76 via sord.
I sub.
Vn.
via sord.
II sub.
via sord.
Va. sub. div.
arco
Vc. arco, div.
Cb.
Antonia!
610
110
Aria = 60–72
fltg.
1 Fl.
fltg.
2
Ob.
1
E.H. slow legato gliss.*
1 Cl. in B
slow legato gliss.*
2
slow legato gliss.*
1 Bn. 2
slow legato gliss.
1 Hn. in F
slow legato gliss.
2
1 Tpt. in C 2 open
1 Tbn.
open
2
1 Anvil
Perc.
2 B.D.
3
(BRASS)
Synth.
Piano
Harp
sung
(Growing in intensity and volume.)
3
M.A.
She must
stay
and ride the
= 60–72
cart,
And see the
crowds,
And hear the
drums.
And count the senza sord.
I Vn.
senza sord.
II senza sord. free bows slow legato gliss.
Va.
Vc.
Cb.
*Clarinets and Bassoon 1 should stagger breathing.
611
111 1
Fl. 2
Ob.
1 to Oboe
E.H.
1 Cl. in B 2
1 Bn.
2
(a2)
Hn. in F
1 2 with harmon mute
remove mute
1 Tpt. in C
with harmon mute
remove mute
2
Tbn.
1 2 Glock.
1 (Anvil)
Perc.
2 (B.D.)
3
Synth.
8va
Piano
8va
Harp
sub.
3
M.A. 3
stairs, And feel the blade.
She must stay, Beau mar chais,
And
she must
die
I Vn. II non div.
Va. unis., non div.
Vc.
unis., non div.
pizz.
Cb.
unis.
pizz.
Once
there was
a
612
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
3
M.A.
gold en bird,
A
bird
who lived in
a
sil ver cage.
I
I Vn. II
Va. unis.
Vc.
Cb.
nev
er saw the world out
side.
I
nev
er knew the
613
112 1 Fl. 2
1 Ob. Oboe
2
1 Cl. in B
fltg.
ord.
2
a2
Bn.
1 2 fltg.
ord.
1 Hn. in F
fltg.
ord.
2 open
1 Tpt. in C
open
2
1 Tbn. 2
Ten. Dr.
2 Perc.
B.D.
3 (BRASS)
Synth.
I
Piano
Harp
M.A. 3
3
world of pain.
I did not
know,
did not know!
I have to
stay,
Beau mar chais,
div.
I Vn.
div.
II div.
Va.
div.
div.
Vc.
div.
arco
Cb.
arco
div.
614
113 1 Fl. 2
1 Ob.
to English Horn
2 sub.
1 Cl. in B
to Clarinet in A
2
1 Bn. 2
1 sub.
Hn. in F 2
sub.
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 (Ten. Dr.)
Perc.
2 (B.D.)
3
Synth.
Piano
Harp
(slower, free)
( = 72)
M.A.
And I have to
die.
For there was
unis., con sord. (div.)
al sord.
(div.)
al sord.
I Vn.
desolate
unis., con sord.
II desolate (div. a4)
Va. (div.)
Vc. (div.) 1.
Cb. 2., 3.
no
peace,
I
615
1 Fl. 2
Ob.
1
E.H. (quasi
Cl. in B
)
3
Clarinet in A (quasi )
3
(quasi
3
3
3
3
3
3
3
3
3
3
1 floating
Cl. in A floating )
1 Bn.
floating
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
M.A.
wan
dered,
cold,
bit ter,
emp ty,
Un
til
with your art
and
I Vn. II (quasi
)
(quasi
)
unis.
div.
3
3
3
3
3
3
3
Va. floating div.
Vc. 3
Cb.
floating
616
114 1 3
Fl.
3
2
Ob.
1 English Horn
solo
3
to Oboe
E.H.
Cl. in B
1 3 3
Cl. in A (quasi
)
1 Bn.
3
(quasi
)
3
floating 3
3
3
3
3
3
3
3
3
3
3
3
3
3
2 floating
1 Hn. in F 2
1 Tpt. in C 2 with straight mute
(quasi
)
1 3
Tbn.
with straight mute
(quasi
)
3
floating 3
3
2 floating
Timp.
1
Perc.
2
3 3
(tbns., cb.)
(quasi
Synth.
3
)
floating
3
3
3
3
3
3
3
3
Piano
non arpeggio
richly
Harp
M.A. 3
love
you
called
me.
You
taught
me
that ac
cep tance is
the
on
ly road
to
free
dom
I Vn. II (div.)
div.
unis.
Va. 3
(div.)
div. a2
Vc. (1.)
Cb. (2., 3.)
div.
pizz.
3
arco
pizz.
617
115 Faster
solo
= ca. 96 1 Fl. 2
1 Ob. 2
Cl. in B
1 (quasi
)
3
3
3
3
Cl. in A
richly
1 Bn.
3 3
2 (quasi
)
soli
3
1 richly
Hn. in F
(quasi
)
3
3
3
3
3
3
3
soli
2 richly with straight mute
remove mute
with straight mute
remove mute
solo, open
1 Tpt. in C 2 remove mute
1 Tbn.
remove mute
2 Timpani
Timp.
1
Perc.
2 3
B.D.
3
Synth. 3
(bns., cb.)
non arp.
Harp
joyous
3
3
M.A.
And for
give
ness
sets our spi
rits
free to
fly.
Float
via sord.
ing,
ris ing,
soar
ing,
div., senza sord.
I Vn.
via sord.
senza sord.
div.
II (div. a2)
(quasi
)
unis.
div.
unis.
3
3
3
3
3
3
div.
3
Va.
(div. a2)
(quasi
) 3
pizz.
Vc. div. a3, arco div. a2, pizz.
Cb. 3
unis.
618
= ca. 84
tratt.
rall. *
1 Fl. *
2
1 Ob.
Oboe
2
*
Cl. in B
1
*
Cl. in A
1 Bn. 2
1 Hn. in F 2
(1.)
Tpt. in C
2. open
1 2 open
1 Tbn.
open
2
Timp. Sus. Cym.
2 Perc.
B.D.
3 (STRINGS)
Synth.
Piano
*
Harp
M.A.
De light,
rap
ture.
Pa
tratt.
ra
dise!
= ca. 84
Thank
rall.
unis.
(div.)
I Vn.
(div.)
II div. a4 (div.)
unis.
Va. unis., arco
div. a3 1 2 3-4
arco
div.
Vc.
Cb.
2-3 *Free wave of ethereal arpeggios on given chord tones. All should be legatissimo, blurred and asynchronous. Rhythms and tempo ad lib.
619 Piccolo to Piccolo
to Flute
Slower
rall.
= 60
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 take Whispa mute
1 Tpt. in C
take Whispa mute
2 take straight mute
1 Tbn.
take straight mute
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
M.A.
you
for this
mo ment
of
peace.
I
suf fered
Slower
rall. unis. al sord.
div., con sord.
al sord.
div., con sord.
unis.
al sord.
unis., con sord.
(div. a3)
al sord.
unis., con sord.
(div. a2)
al sord.
unis., con sord.
I Vn. II (div. a4)
Va.
Vc.
Cb.
= 60
here in
end less
620 rall.
116 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 with straight mute
take softest mute available
with straight mute
take softest mute available
1 Tbn. 2
Timp.
1
Perc.
2
3
(tbns.)
Synth.
Piano
Harp
(She kneels before him.)
M.A.
night.
And div.
then you
came and brought me
light.
I
love
rall.
I Vn.
div.
unis.
div.
unis.
II
Va. div.
Vc. div. (arco)
Cb. pizz.
you.
621
Finale Andante
117
= 72
solo
1 with great purity
Fl. 2
1 Ob. 2 solo
1 Cl. in B
Clarinet 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
(The two figures glow. Beaumarchais gestures and the soldiers appear. They take the prisoner queen away.)
Beaumarchais: (lifting Marie Antoinette)
Beau.
Come,
Andante
An
to
3
ni
a.
= 72
(div.) unis.
I Vn.
div.
II div. div.
unis.
unis.
Va. (div.)
unis.
unis., pizz.
arco
Vc.
Cb.
622
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
Beau. div.
Vn. I
Vn. II div.
non div.
non div.
Va. non div.
Vc.
Cb.
623
118 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 Tbn. 2
Timp.
1
Perc.
2
3
(cb.)
Synth.
Piano
non arp.
Harp
(Led like a tethered animal by a cord tied to her hands, the prisoner queen is brought by the soldiers to a shabby cart drawn by two dray horses. To further humiliate her, they place her in it so that she is sitting backward. She is wearing a simple white gown and bonnet and is accompanied by the executioner and a revolutionary priest. As the cart slowly
(Immediately the walls of the prison rise, revealing the enourmous Place de la RĂŠvolution. Toward the back of it looms a towering guillotine. On the opposite side of the stage is a gaily painted Montgolfier balloon. Large crowds of Parisians in their Sunday best have come to view the execution of their monarch and the balloon ascent. The gardens of Aguas Frescas appear high up, hazily lit, as if in a vision. Beaumarchais and the ghost Marie Antoinette slowly ascend toward it arm in arm.)
Beau. (div.)
I Vn.
(div.)
II
Va.
Vc. dolce
Cb.
unis.
624 = 60
rall.
119
1 3
Fl.
Piccolo
to Piccolo
2 3
3
dolce
1 Ob. 2
1 espr.
Cl. in B
3
2
1 Bn. 2
take softest mute
softest mute
take softest mute
softest mute
1 Hn. in F 2 whispa mute
1 Tpt. in C
whispa mute
2 softest mute
1 Tbn.
softest mute
2
Timp.
1
Perc.
2
3 (stgs.)
Synth.
Piano
C
Harp
makes its way to the guillotine, the crowds shout and chant:) Crowd: (shouting, variously)
(At the same time, the now forgotten Almaviva household
Crowd
Long live the Republic! Down with tyranny!
Death to the Austrian! There’s the wicked Antoinette!
She’s finally finished! Antoinette, we want your head!
= 60
rall.
div.
I (div.)
Vn.
unis.
div.
II div.
Va. gli altri (1)
Vc. div.
Cb.
unis.
625
Picc. 3
3
Fl.
3
1
1 espr.
Ob. 2
1 3
Cl. in B
espr.
3
2
1 Bn. 2
open
1 Hn. in F 2 remove mute
1 Tpt. in C
remove mute
2
1 Tbn. 2
Timp.
1
Perc.
2 T.D. muffled as in a crowd
3
(stgs.)
Synth.
Piano
(The blade hits.) (Figaro severs the mooring rope of the balloon. It rises.) (stealthily makes its way to the balloon. When the cart draws up beside the scaffold, the queen, refusing help, descends by herself and quickly mounts the steps. The executioner places her head on the block.)
silence
Crowd
silence
(div.)
div. a4
I Vn.
1-2 3-4 5 6
1 2
(div.)
II
3-4 5-6 (div.)
Va. dolce 3
3 soli, div. a3
3
tutti div. a2
3
gli altri
Vc. div. a2 1
Cb. 2-3
626
Picc. solo
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 Temps de marche animé offstage, open
1 Tpt. in C
offstage, open
2
1 Tbn. 2
1
Perc.
2
3
(stgs.)
Synth.
Harp
(The crowd stands and sings, motionless.) (La Marseillaise, original version.) Temps de marche animé
Crowd
(From this point, the
(cheer!)
Al lons
en
fants
de
la
Pa
tri
e
le jour
de
gloire
est
ar
ri
vé.
Con
tre
(cheer!)
Al lons
en
fants
de
la
Pa
tri
e
le jour
de
gloire
est
ar
ri
vé.
Con
tre
1-2 3 4 5 6
div. a5
I Vn. II
div. a4
Va. div. a4
Vc. div.
Cb.
1 2-3
627
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
1
Perc.
2
3
Synth.
Harp
music and lighting on the Place de la Révolution slowly fade out. The balloon rises and disappears. Beaumarchais and Marie Antoinette have arrived in Aguas Frescas, which glows radiantly. Louis is waiting there with the other ghosts, holding the Duchess’ hand and smiling.)
Crowd
I Vn. II
Va.
Vc.
Cb.
nous
de
la
ty
ran
ni
e
L’é
ten dard
san
glant
est
le
vé.
L’é
ten dard
san
glant
est
le
nous
de
la
ty
ran
ni
e
L’é
ten dard
san
glant
est
le
vé.
L’é
ten dard
san
glant
est
le
628
120 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
Crowd
I Vn. II
Va.
Vc.
Cb.
vé.
En ten
dez vous
dans ces
cam
pa
gnes.
Mu
gir
ces
fé ro
ces
sol dats.
Ils
vé.
En ten
dez vous
dans ces
cam
pa
gnes.
Mu
gir
ces
fé ro
ces
sol dats.
Ils
629
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 dolce
Perc.
2
3
Synth.
Harp
(A spotlight illuminates Beaumarchais
vien
nent jus que…
vien
nent jus que…
Crowd
1-4
(1-4)
5-6
I div.
Vn.
8va
II
Va.
div.
Vc.
Cb.
630 rall. Picc. (stretch)
Fl.
1 (stretch)
1
3
3
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
and Marie Antoinette more and more as the lights on Aguas Frescas dim. Finally only Beaumarchais and Marie Antoinette are illuminated as he places the jewels around her neck and then kisses her hand.)
rall.
(1–4)
(Fade to black.) tutti, div. a3
I (div.) div. a3
8
Vn. II
tutte, unis.
Va. (div.)
Vc.
Cb.
legatissimo
non cresc.