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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

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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

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