1 00:00:56,700 --> 00:00:59,080 Good evening everyone, good evening, of course, 2 00:00:59,080 --> 00:01:03,599 to those who are here tonight in large numbers, in this beautiful Maurice Fleuret space, 3 00:01:03,599 --> 00:01:07,559 at the National Conservatory of Music and Dance of Paris. 4 00:01:07,559 --> 00:01:11,800 Tonight, it is the Department of Early Music, led by Pascal Bertin, 5 00:01:11,800 --> 00:01:16,160 and also the Vocal Disciplines, led by Jean-Marc Demeuret, 6 00:01:16,160 --> 00:01:17,879 that are being showcased. 7 00:01:17,879 --> 00:01:20,919 A few words specifically about the Department of Early Music. 8 00:01:20,919 --> 00:01:25,199 It is a department that benefits, of course, from the extreme quality of its professors, 9 00:01:25,199 --> 00:01:29,000 who are all musicians recognized on the international stage. 10 00:01:29,000 --> 00:01:33,400 Moreover, each season, specific projects, like tonight, 11 00:01:33,400 --> 00:01:36,519 involve prestigious guests. 12 00:01:36,519 --> 00:01:41,760 Also noteworthy, the students have access to a magnificent collection of instruments. 13 00:01:41,760 --> 00:01:45,080 What's also interesting in the philosophy of this department, 14 00:01:45,080 --> 00:01:50,160 is the way it's never disconnected from the historical continuity. 15 00:01:50,160 --> 00:01:54,199 I mean, this work on ancient instruments is constantly linked 16 00:01:54,199 --> 00:01:56,639 with a reality that comes later in time. 17 00:01:56,639 --> 00:02:00,879 Baroque is put into perspective, along with what is called the classical period 18 00:02:00,879 --> 00:02:02,599 or the pre-romantic period. 19 00:02:02,599 --> 00:02:05,279 Of course, this is the spirit of this program. 20 00:02:05,279 --> 00:02:09,360 Tonight, this will also be the focus of my first question to our esteemed guest, 21 00:02:09,360 --> 00:02:12,559 the violinist and conductor Sigiswald Kuijken. 22 00:02:12,559 --> 00:02:16,639 Later, we will discuss other topics, more related to staging 23 00:02:16,639 --> 00:02:21,240 with Marie Kuijken, after the Mozart Symphony that opens our program 24 00:02:21,240 --> 00:02:26,440 and just before the Intermezzo by Haydn, 'La Canterina,' which will close it. 25 00:02:26,440 --> 00:02:29,119 So, my first question to Sigiswald Kuijken. 26 00:02:29,119 --> 00:02:34,039 Why have you chosen, in conjunction with Haydn's Intermezzo, 27 00:02:34,039 --> 00:02:38,910 this early Symphony by Mozart, which is certainly not one of his most famous or most played pieces. 28 00:02:38,919 --> 00:02:42,880 It's a symphony from 1773. 29 00:02:42,880 --> 00:02:44,479 Mozart was 17 years old. 30 00:02:44,479 --> 00:02:48,759 He was still in Salzburg, but he had already traveled, notably to Italy. 31 00:02:48,759 --> 00:02:51,199 Perhaps this is already a first clue to the explanation. 32 00:02:51,199 --> 00:02:56,399 I think Mozart was a very likeable young man when he was 17 years old. 33 00:02:56,399 --> 00:03:04,520 Somewhat ahead of his time, he had already been influenced by many sources. 34 00:03:04,520 --> 00:03:08,440 The first was his father, of course, who was not a great composer, 35 00:03:08,440 --> 00:03:10,240 but who was a skilled tradesman. 36 00:03:10,240 --> 00:03:13,360 After his travels, he benefited greatly. 37 00:03:13,360 --> 00:03:18,639 He was accepted into the Academy in Bologna when he was around 14-15 years old, 38 00:03:18,639 --> 00:03:21,320 which was quite exceptional. 39 00:03:21,320 --> 00:03:25,759 So, this symphony, it's already composed by someone who knows his craft. 40 00:03:25,759 --> 00:03:28,639 Why did I choose this symphony and not another? 41 00:03:28,639 --> 00:03:33,119 Because, as you know, there are 41 symphonies by Mozart, right? 42 00:03:33,119 --> 00:03:36,559 It's because I wanted a piece with flutes. 43 00:03:36,559 --> 00:03:38,320 And you might ask why. 44 00:03:38,320 --> 00:03:39,960 That's the pragmatism of musicians. 45 00:03:39,960 --> 00:03:43,479 Indeed, and I believe it's necessary to think this way. 46 00:03:43,479 --> 00:03:50,279 Because in 'La Canterina', which is, let's say, the main piece of our evening, 47 00:03:50,279 --> 00:03:54,839 there are two flutists who play only in the first number. 48 00:03:54,839 --> 00:03:58,199 After that, in those times, they were expected to, 49 00:03:58,199 --> 00:04:01,559 switch to oboe and even the English horn. 50 00:04:01,559 --> 00:04:05,279 Now, it's not like that anymore, flutists no longer play the oboe. 51 00:04:05,279 --> 00:04:10,199 So, the two flutists who play in the Haydn, 52 00:04:10,199 --> 00:04:13,080 I preferred that they play something else as well. 53 00:04:13,080 --> 00:04:17,359 So I found a Mozart symphony where there are flutes instead of oboes. 54 00:04:17,359 --> 00:04:18,720 There aren't many of those. 55 00:04:18,720 --> 00:04:22,799 And it gives a completely natural, completely different color. 56 00:04:22,799 --> 00:04:27,160 It's in G major, but here the flute parts are placed, let's say, 57 00:04:27,160 --> 00:04:30,920 a fifth higher than the normal oboe parts. 58 00:04:30,920 --> 00:04:34,119 And that creates a different sonic spectrum. 59 00:04:34,119 --> 00:04:36,079 And I believe that's the only reason. 60 00:04:36,079 --> 00:04:37,600 And it's a very lovely symphony. 61 00:04:37,600 --> 00:04:40,959 So there's no hesitation. 62 00:04:40,959 --> 00:04:45,960 When you, like you have been for years, delve into the repertoire of what's broadly known as ancient music, 63 00:04:45,960 --> 00:04:51,400 you realize that many musicians like you encroach upon the classical and even romantic territories. 64 00:04:51,400 --> 00:04:52,880 But how far can we go with this? 65 00:04:52,960 --> 00:04:57,440 With this concept of historically informed music, can we go almost up to our times? 66 00:04:57,680 --> 00:05:01,000 To push it to the absurd, we could go up to last night. 67 00:05:02,640 --> 00:05:10,520 One could even imagine playing Pierre Boulez's 'Le Marteau sans maître' on an ancient instrument from the 1950s, right? 68 00:05:11,040 --> 00:05:14,480 There, we're pushing into the absurd, and I myself am convinced, 69 00:05:14,480 --> 00:05:17,760 personally, I do not say that everyone will think like me, 70 00:05:17,760 --> 00:05:20,799 that the further we advance in the history of music, 71 00:05:20,799 --> 00:05:25,880 the less the use of so-called "correct" instruments 72 00:05:25,880 --> 00:05:28,359 is really an absolute condition. 73 00:05:28,359 --> 00:05:30,600 I think one should view this from a distance 74 00:05:30,600 --> 00:05:32,760 and with a certain humor as well. 75 00:05:32,760 --> 00:05:37,559 I believe what's important is not to mix up the big picture, 76 00:05:37,559 --> 00:05:43,959 I mean, the instruments used before the French Revolution. 77 00:05:43,959 --> 00:05:46,000 It's something different than after, 78 00:05:46,000 --> 00:05:49,640 but it's mainly the mentality of the musicians that has changed. 79 00:05:49,640 --> 00:05:52,359 The Revolution was something significant. 80 00:05:52,359 --> 00:05:57,519 Maybe one day, we will... I don't know. 81 00:05:57,519 --> 00:05:59,440 But it's something very strong 82 00:05:59,440 --> 00:06:02,959 and thus the mentality of the instrumentalist changes 83 00:06:02,959 --> 00:06:06,799 and also the instruments, the preferences for certain sounds, 84 00:06:06,799 --> 00:06:10,320 the virtuosity, the overflowing expression, and all that, 85 00:06:10,320 --> 00:06:13,600 it's typically post-Revolution. 86 00:06:13,600 --> 00:06:18,720 Before, composers and musicians were more like craftsmen, 87 00:06:18,720 --> 00:06:21,200 tradespeople. 88 00:06:21,200 --> 00:06:24,440 Haydn had the rank of a valet at Esterházy. 89 00:06:24,440 --> 00:06:25,600 – Even though he was Kapellmeister. 90 00:06:25,600 --> 00:06:29,239 – Yes, but he never complained about it. 91 00:06:29,239 --> 00:06:31,160 It's inscribed in another world. 92 00:06:31,160 --> 00:06:35,200 Musicians were employees of this Mr. Kapellmeister 93 00:06:35,200 --> 00:06:38,040 and of Prince Esterházy. 94 00:06:38,040 --> 00:06:39,679 And that's normal. 95 00:06:39,679 --> 00:06:46,160 So, we have a different education when we start from that place. 96 00:06:46,160 --> 00:06:47,920 If later, we are children of the Revolution, 97 00:06:47,920 --> 00:06:52,320 we will do individualistic things and will not let ourselves be dominated. 98 00:06:52,320 --> 00:06:54,359 – A final question, Sigiswald. 99 00:06:54,359 --> 00:06:55,959 We often use the term classical. 100 00:06:55,959 --> 00:06:57,519 Classical music, for the general public, 101 00:06:57,519 --> 00:07:03,320 encompasses all music from practically Monteverdi up to today. 102 00:07:03,320 --> 00:07:06,119 The classical style, according to Charles Rosen, is much more specific. 103 00:07:06,119 --> 00:07:11,720 It defines an era, a style, and even certain musical tools, compositionally speaking. 104 00:07:11,720 --> 00:07:15,359 So, regarding this Mozart symphony we're about to hear, 105 00:07:15,359 --> 00:07:17,119 we hear a sonata form in the first movement. 106 00:07:17,119 --> 00:07:19,440 That's quite characteristic. 107 00:07:19,440 --> 00:07:22,239 But in the last movement, there's a fugato. 108 00:07:22,239 --> 00:07:24,679 This will come back later, as we well know, in Mozart's music. 109 00:07:24,679 --> 00:07:26,600 But is this a remnant of the past, this fugato? 110 00:07:26,600 --> 00:07:31,600 – I think it's both a remnant and also a sign of Mozart's curiosity, 111 00:07:31,600 --> 00:07:35,560 who, being a member of the Academy in Bologna, 112 00:07:35,560 --> 00:07:40,440 among other things, had to demonstrate that he was proficient in counterpoint, 113 00:07:40,800 --> 00:07:47,120 fugatos, things that were not really the language of the time in terms of gallantry, 114 00:07:47,120 --> 00:07:49,840 but they were part of the past. 115 00:07:49,840 --> 00:07:52,060 So, he proved that he mastered them, 116 00:07:52,060 --> 00:07:56,950 and increasingly afterwards, in the quartet, you will see that he is very strong in that area. 117 00:07:56,959 --> 00:08:00,320 And Beethoven, as well as Haydn – 118 00:08:00,320 --> 00:08:00,839 – Exactly. 119 00:08:00,839 --> 00:08:02,600 – We'll let you return to your instrument 120 00:08:02,600 --> 00:08:05,160 and the musicians will take the stage 121 00:08:05,160 --> 00:08:07,480 for Mozart's Symphony No. 27 in G Major, 122 00:08:07,480 --> 00:08:10,000 K.199, of course, 123 00:08:10,000 --> 00:08:13,720 performed by the ensemble of the Paris Conservatory under the direction of Sigiswald Kuijken. 124 00:25:25,280 --> 00:25:28,280 So, Marie Kuijken, good evening. 125 00:25:28,280 --> 00:25:34,280 We're going back a few years compared to this Mozart Symphony. 126 00:25:34,280 --> 00:25:37,280 'La Canterina' is an intermezzo in music. 127 00:25:37,280 --> 00:25:38,280 What exactly is an intermezzo? 128 00:25:38,280 --> 00:25:44,280 Is it a kind of interlude intended to be inserted between two acts of a more serious opera? 129 00:25:44,280 --> 00:25:47,280 Yes, initially that's how it was. 130 00:25:47,280 --> 00:25:52,280 It's a form that originated in the first half of the 18th century. 131 00:25:52,280 --> 00:26:02,280 In this idea, characters from the serious opera would take a more comedic pause. 132 00:26:02,280 --> 00:26:06,280 In the second half, it evolved. 133 00:26:06,280 --> 00:26:13,280 It's interesting to see that Haydn, on his manuscript, wrote "Interlude," 134 00:26:13,280 --> 00:26:17,280 but on the libretto, it's written "Opera buffa." 135 00:26:17,280 --> 00:26:24,280 The two forms were already starting to blend and influence each other. 136 00:26:24,280 --> 00:26:33,280 We're in 1766, the time when Haydn was appointed Kapellmeister at the Esterházy court. 137 00:26:33,280 --> 00:26:38,280 What do we know today about the context, the way it was created there? 138 00:26:38,280 --> 00:26:41,280 Do we have any documents? Do we know how it was staged? 139 00:26:41,280 --> 00:26:46,280 Yes, there aren't specific documents about this opera, 140 00:26:46,280 --> 00:26:53,280 but there are many general theatrical sources from that period that can be read and studied. 141 00:26:53,280 --> 00:26:56,280 Some are quite general, others are very specific 142 00:26:56,280 --> 00:27:00,280 and show exactly the rules of how one was supposed to behave on stage 143 00:27:00,280 --> 00:27:02,280 and what was done and what was not. 144 00:27:02,280 --> 00:27:04,280 It wasn't like today; it wasn't rigid. 145 00:27:04,280 --> 00:27:07,280 There are two important aspects. 146 00:27:07,280 --> 00:27:17,280 One is the visual aspect, which aimed to create as if there was always a living painting. 147 00:27:17,280 --> 00:27:26,280 How to say? If at the opera you could do a freeze-frame, the action should always look beautiful. 148 00:27:26,280 --> 00:27:30,280 And this is one aspect, so in the rules of how to carry oneself, 149 00:27:30,280 --> 00:27:33,280 One should not have their back like this for instance 150 00:27:33,280 --> 00:27:37,280 It was an offense to the king who might be in the audience listening 151 00:27:37,280 --> 00:27:41,280 and who himself also had an education in how to comport and all that. 152 00:27:41,280 --> 00:27:44,280 The king danced, etc. 153 00:27:44,280 --> 00:27:50,280 Another important aspect is verisimilitude. 154 00:27:50,280 --> 00:27:57,280 It means that the ideal, obviously these are ideals we try to reach, 155 00:27:57,280 --> 00:28:02,280 we never completely achieve them, that's for sure. 156 00:28:02,280 --> 00:28:07,280 But verisimilitude means that the action should appear real. 157 00:28:07,280 --> 00:28:11,280 It isn't, obviously, because they are actors, they are singer-actors. 158 00:28:11,280 --> 00:28:14,280 But how to make it seem real? 159 00:28:14,280 --> 00:28:19,280 In the 18th century, they were well aware of how we function. 160 00:28:19,280 --> 00:28:28,280 That is, if someone has a thought or a feeling, hears something, sees something, it starts there. 161 00:28:28,280 --> 00:28:33,760 First, there's a reaction in the heart, in the eyes, in the face, 162 00:28:33,760 --> 00:28:39,800 about what they think, what's happening, or the emotion that's coming. 163 00:28:39,800 --> 00:28:43,520 First the eyes, which are the mirror of the soul. 164 00:28:43,520 --> 00:28:50,880 From the eyes and face, it moves to the body, which makes a gesture, motion, or something like that 165 00:28:51,280 --> 00:28:57,280 And only after that, it goes into the voice, into the words, or into the singing. 166 00:28:57,280 --> 00:29:01,280 And if we respect this, it was really in the sources, 167 00:29:01,280 --> 00:29:03,280 we find a lot about this aspect. 168 00:29:03,280 --> 00:29:09,280 If we respect this, we are good actors and the action will appear believable. 169 00:29:09,280 --> 00:29:12,280 And then it's something very joyful because there's also parody involved. 170 00:29:12,280 --> 00:29:18,280 Absolutely, yes. In fact, a major part of the comedic aspect of this opera 171 00:29:18,280 --> 00:29:21,280 is the parody of the "opera seria." 172 00:29:21,280 --> 00:29:26,280 In fact, the opera seria was more static, 173 00:29:26,280 --> 00:29:31,280 had more grand and more pathetic gestures, we would say today. 174 00:29:31,280 --> 00:29:38,280 And the comic opera, the opera buffa, was livelier, faster, 175 00:29:38,280 --> 00:29:41,280 and could mock the opera seria a bit. 176 00:29:41,280 --> 00:29:44,280 That was an aspect that was done quite a lot. 177 00:29:44,280 --> 00:29:47,280 Thank you for this staging and for these words just before, 178 00:29:47,280 --> 00:29:53,280 so 'La Canterina' an intermezzo in music with Victoria Jung in the role of the singer, 179 00:29:53,280 --> 00:29:58,280 Gasparina, Sahy Ratianarinaivo as the singing teacher Don Pelagio, 180 00:29:58,280 --> 00:30:02,280 Makéda Monenet as the supposed mother Apollonia 181 00:30:02,280 --> 00:30:05,280 and Juan Medina in the role of the merchant's son, 182 00:30:05,280 --> 00:30:08,280 Don Ettore, and of course the ensemble of the Paris Conservatory, 183 00:30:08,280 --> 00:30:13,280 conducted by Sigiswald Kuijken and staged by Marie Kuijken. 184 00:31:31,760 --> 00:31:48,000 What a delicate little face you have with this makeup! 185 00:31:48,000 --> 00:32:01,000 Blessed be the one who invented it! 186 00:32:38,860 --> 00:32:47,880 Oh, see the difference there is between the white of Madam Celia and this given to me by the maid of Marchioness Impiastro 187 00:32:47,880 --> 00:32:53,720 with this you can wash yourself, you can scrub your face, and it won’t come off 188 00:32:53,720 --> 00:32:59,960 you saw last night at the theater, what a pretty figure the baker's wife made 189 00:33:00,420 --> 00:33:08,420 and yet she really has a color between green and black, as if she's been smacked and hit in the face with a bat, 190 00:33:08,420 --> 00:33:13,640 and yet this makes her look so beautiful 191 00:33:13,640 --> 00:33:17,920 Here it is, I've already said it 192 00:33:17,920 --> 00:33:37,700 Blessed be he who invented it! 193 00:33:41,300 --> 00:33:49,000 The ornament of theaters, the fifth element of us women! 194 00:33:52,580 --> 00:33:54,360 Someone is knocking, who could it be? 195 00:33:54,360 --> 00:33:59,720 It must be the Master, now... Oh, Don Ettore! 196 00:34:00,580 --> 00:34:02,680 What does this rude man want? 197 00:34:02,680 --> 00:34:09,760 You tell him, that my father has threatened to whip me if I receive him at home 198 00:34:09,860 --> 00:34:13,200 He has nothing more to give me, that's the problem 199 00:34:14,420 --> 00:34:19,560 But, my blessed daughter, do you want to ruin us with your father? 200 00:34:20,780 --> 00:34:25,160 He's back! We're locked in, we can't open up 201 00:34:26,380 --> 00:34:29,800 Ah, madam! You treat me like this? 202 00:34:30,020 --> 00:34:32,660 Kick out this madman with a stick! 203 00:34:32,660 --> 00:34:35,660 Madam, why such disdain? 204 00:34:35,740 --> 00:34:37,300 Break your neck! 205 00:34:37,300 --> 00:34:46,120 Well then, this diamond circlet, which I took from my mother, I'll bring it as a gift to Angelina, 206 00:34:46,220 --> 00:34:49,740 Diamonds? Oh well, who's out there? 207 00:34:49,740 --> 00:34:51,440 Daughter, it's Don Ettore 208 00:34:51,440 --> 00:34:52,650 Don Ettore? 209 00:34:52,650 --> 00:34:54,720 Madam, at your service 210 00:34:54,720 --> 00:34:58,700 My dear, it's been two months since I've seen you! 211 00:34:59,000 --> 00:35:01,100 Daughter, what are you doing, if your father finds out? 212 00:35:01,100 --> 00:35:05,400 What do I care, I want to love him to spite my father 213 00:35:05,420 --> 00:35:09,300 Blessed girl, you know what you're doing 214 00:35:10,000 --> 00:35:11,880 Is your mother well? 215 00:35:11,880 --> 00:35:19,600 Yes, and see, this is hers; I took it and give it to you along with this cloth from Holland 216 00:35:19,600 --> 00:35:21,700 But what if she notices? 217 00:35:21,800 --> 00:35:25,880 She loves me, I'll tell her, and she'll keep quiet 218 00:35:26,020 --> 00:35:31,840 Mother, see, what a beautiful, rich thing, this great lady's fabric, Don Ettore gave me! 219 00:35:32,440 --> 00:35:37,080 Oh, what a beautiful thing! (It's worth three doubloons, the whole gift.) 220 00:35:37,580 --> 00:35:40,160 Ah, poor girl! 221 00:35:40,160 --> 00:35:43,840 She has no one who gives her even a sigh, 222 00:35:43,840 --> 00:35:47,240 with the hard work, we think only of eating, 223 00:35:47,240 --> 00:35:52,200 you see the life we lead, always closed in 224 00:35:53,160 --> 00:36:04,120 I thought that the one who knocked just now was a merchant, who wanted to give me a fabric dress to hear me sing 225 00:36:04,580 --> 00:36:07,250 And why would you not accept it? 226 00:36:07,250 --> 00:36:11,280 Who? What are you saying? At the house of Gasparina Zuffoli? 227 00:36:11,280 --> 00:36:16,650 No one steps foot inside here; who do you take my daughter for? 228 00:36:16,650 --> 00:36:20,560 Easy, madam, I didn't say anything 229 00:36:20,560 --> 00:36:26,560 Now listen, Gasparina, I would have lunch with you this morning 230 00:36:26,900 --> 00:36:33,800 At your service! But we must hold back a little, until the lesson is over and the Master leaves 231 00:36:34,100 --> 00:36:37,560 I serve you, my soul, but who is this Master? 232 00:36:37,560 --> 00:36:41,800 Oh, he is an eccentric man, he would scold me right away 233 00:36:41,800 --> 00:36:46,320 He is an old acquaintance. Uh, the door, damn it! 234 00:36:46,320 --> 00:36:48,250 What will we do? Who is it? 235 00:36:48,250 --> 00:36:50,080 A: The Master! G: The Master! 236 00:36:50,500 --> 00:36:54,320 Hide this sword! How will we spin it? 237 00:36:54,820 --> 00:36:56,480 Damnation! 238 00:37:07,360 --> 00:37:09,920 Sir Master, I pay you my respects 239 00:37:10,300 --> 00:37:15,040 So, two lire per palm? This man here is a seller of Dutch cloth, 240 00:37:15,040 --> 00:37:20,020 he has brought us some fine stuff that I need, and he gives it away for nothing 241 00:37:20,020 --> 00:37:22,780 What's the cost? 242 00:37:22,780 --> 00:37:25,340 For three canes length, it's forty-eight lire 243 00:37:25,340 --> 00:37:26,800 Nothing less? 244 00:37:28,400 --> 00:37:29,780 What do I know? 245 00:37:29,780 --> 00:37:35,040 Of course, if he has set a reasonable price, he cannot say more 246 00:37:35,140 --> 00:37:37,500 Let's make it thirty lire! 247 00:37:37,500 --> 00:37:40,520 My mother bought it for sixty 248 00:37:41,060 --> 00:37:44,360 What? Oh wow! What is he saying? 249 00:37:44,360 --> 00:37:49,800 The mother runs the business, he goes around selling. (What a fool!) 250 00:37:49,800 --> 00:37:53,160 Come on, hurry up, this poor man! 251 00:37:53,160 --> 00:37:54,400 Here it is! 252 00:37:54,400 --> 00:37:57,500 Take it! 253 00:37:58,150 --> 00:37:59,540 Nice trick! 254 00:37:59,540 --> 00:38:05,320 Go, go down to the café! When the Master has left, I will call you from the balcony 255 00:38:05,740 --> 00:38:08,740 I salute you all 256 00:38:08,740 --> 00:38:10,560 At your service 257 00:38:11,900 --> 00:38:17,260 Come closer and listen to this aria that I wrote last night 258 00:38:17,420 --> 00:38:23,800 see, it's in D major, with the horns coming in 259 00:38:29,060 --> 00:38:32,060 and they strengthen with the mutes 260 00:38:33,820 --> 00:38:36,820 Oh, this solo oboe exit! 261 00:38:42,980 --> 00:38:46,720 Listen a bit! Recitative! 262 00:39:39,740 --> 00:39:42,320 What should I ever do? 263 00:39:55,140 --> 00:40:09,980 Spouse… 264 00:40:09,980 --> 00:40:13,480 will I see you lifeless? 265 00:40:21,620 --> 00:40:25,840 And will you breathe out that soul? 266 00:40:30,940 --> 00:40:34,440 And will you close those lights, 267 00:40:40,180 --> 00:40:47,720 those sweet lights? 268 00:40:52,900 --> 00:40:54,480 Go to the tyrant! 269 00:41:01,060 --> 00:41:05,480 Oh, God! I, belonging to another and no longer yours? 270 00:41:07,140 --> 00:41:10,250 What should I ever do? 271 00:42:08,820 --> 00:42:12,350 Should I to marry the wicked tyrant? 272 00:42:12,380 --> 00:42:19,960 Should I to behold my deceased spouse? 273 00:42:29,000 --> 00:42:37,720 What will you do, my miserable heart? 274 00:44:36,440 --> 00:44:37,000 What do you say? 275 00:44:37,000 --> 00:44:38,320 Viva! 276 00:44:38,380 --> 00:44:40,360 Bravo, signor Maestro! 277 00:44:40,500 --> 00:44:43,880 Come on! Sing with me! 278 00:45:37,420 --> 00:45:41,880 What should I ever do! 279 00:45:55,300 --> 00:45:58,300 Spouse! 280 00:45:58,940 --> 00:46:00,800 Softly, softly... 281 00:46:13,700 --> 00:46:22,280 Will I see you lifeless? 282 00:46:22,280 --> 00:46:23,240 Hold on... 283 00:46:23,240 --> 00:46:26,560 Lifeless is like this... 284 00:46:28,060 --> 00:46:31,320 Madam, go knit something! Don't interfere! 285 00:46:39,900 --> 00:46:47,020 And will you breathe out that soul? 286 00:46:47,020 --> 00:46:49,620 To breathe means open your mouth! 287 00:46:49,620 --> 00:46:52,600 And will you breathe out that soul? 288 00:46:52,600 --> 00:46:54,300 Witness this humiliation 289 00:46:54,450 --> 00:46:57,320 Suffer her, Maestro. You know how she is! 290 00:47:03,380 --> 00:47:10,960 And will you close those lights, And will you close those lights, 291 00:47:17,460 --> 00:47:37,720 those sweet lights! 292 00:47:44,780 --> 00:47:49,280 Ah, those sweet lights! 293 00:47:49,420 --> 00:47:53,520 Your sweet lights 294 00:47:54,420 --> 00:47:56,000 "Yours" does not belong there 295 00:47:56,100 --> 00:47:57,420 I'm talking about you! 296 00:47:57,420 --> 00:48:01,760 It needs "Your lights" for more grace, don't you understand? 297 00:48:02,100 --> 00:48:04,500 Here: "And will you close…" 298 00:48:04,500 --> 00:48:07,920 That stinking mouth! Get the Old Lady to leave! 299 00:48:07,920 --> 00:48:10,640 Madam, a bit of chocolate! 300 00:48:10,640 --> 00:48:16,280 Give me the key! "And will you close that soul, 301 00:48:16,280 --> 00:48:19,280 And will you breathe out those lights?" 302 00:48:19,820 --> 00:48:21,640 Long life to signor Maestro! 303 00:48:21,640 --> 00:48:24,640 (Oh, may she break her neck) 304 00:48:26,100 --> 00:48:28,200 How are you, miss? 305 00:48:28,200 --> 00:48:29,640 At your service 306 00:48:29,800 --> 00:48:33,000 I did not sleep all night 307 00:48:33,000 --> 00:48:34,120 Because of the aria? 308 00:48:34,120 --> 00:48:36,700 Thinking of you, clever girl 309 00:48:36,700 --> 00:48:39,160 Oh yes, I already believe you 310 00:48:40,140 --> 00:48:42,060 Dear are those eyes 311 00:48:42,060 --> 00:48:43,660 Oh, the lady mother! 312 00:48:43,660 --> 00:48:47,480 Mr. Maestro, do you want to blind her? 313 00:48:48,020 --> 00:48:52,600 “To close the lights” means the action of shutting the eyelids 314 00:48:54,260 --> 00:48:57,000 What a great fright this mother of yours! 315 00:48:57,000 --> 00:49:01,560 Oh, this is the problem; if she realizes that I'm pretending, she'll makes me tremble. 316 00:49:02,340 --> 00:49:05,840 Every singer has this fright 317 00:49:06,340 --> 00:49:10,680 (So we would have the simpleton believe) 318 00:49:12,740 --> 00:49:16,260 Well, I want to marry you, 319 00:49:20,660 --> 00:49:23,660 What do you say? Speak! 320 00:49:23,800 --> 00:49:25,680 Talk to the Old Lady about it! 321 00:49:25,940 --> 00:49:29,300 Curse this triviality! Always with the Old Lady! 322 00:49:30,780 --> 00:49:34,000 I want to know if you hold others in your heart 323 00:49:34,000 --> 00:49:35,900 Tell me the truth! 324 00:49:35,900 --> 00:49:40,080 Ah, traitor! Is this how you treat me? 325 00:49:40,620 --> 00:49:41,660 Uh, I would give you... 326 00:49:41,660 --> 00:49:43,080 Ah, viper! 327 00:49:44,740 --> 00:49:47,200 The Old Lady enters here again 328 00:49:47,200 --> 00:49:48,500 Uh, she enters... ! 329 00:49:48,500 --> 00:49:49,960 What is it? 330 00:49:52,500 --> 00:49:54,600 You watch yourself, another time! 331 00:49:54,600 --> 00:49:58,700 What fault do I have? Those sudden entrances are difficult 332 00:49:58,700 --> 00:50:03,720 It's true; This fright of these entrances, we must put a stop to it. 333 00:50:04,000 --> 00:50:06,300 Clever girl, how much you know! 334 00:50:06,300 --> 00:50:08,200 Your student! 335 00:50:08,200 --> 00:50:11,280 You have already won over the master, my dear daughter 336 00:50:15,200 --> 00:50:18,480 Let's go, it's getting late 337 00:50:18,480 --> 00:50:19,500 Are you leaving? 338 00:50:19,500 --> 00:50:28,200 Yes, my dear daughter. (See, those glances!) 339 00:50:30,700 --> 00:50:33,080 What a poor clod! 340 00:50:33,080 --> 00:50:36,160 But you're going to wear him out with so much prudery 341 00:50:36,160 --> 00:50:42,160 You who are in the trade, take heed of my mastery, you understand? 342 00:50:43,000 --> 00:50:47,260 You speak the truth. But isn't Don Ettore coming yet? 343 00:50:47,780 --> 00:50:50,550 Come upstairs!... what a blockhead! 344 00:50:52,460 --> 00:50:54,800 I certainly left it here 345 00:50:54,800 --> 00:50:58,560 The Master has left Come! What a fool! 346 00:50:58,560 --> 00:51:02,720 He must have broken his neck, right. Haven't you seen him? 347 00:51:02,720 --> 00:51:06,200 Have you one eye? Hurry up, it's already lunchtime 348 00:51:06,400 --> 00:51:08,320 Devil, what do I hear! 349 00:51:08,750 --> 00:51:14,620 Come on, hurry up the stairs Come on, come on, poor animal! 350 00:51:16,580 --> 00:51:22,000 Oh, rage! Oh, jealousy! She goes on and on without shame; 351 00:51:22,300 --> 00:51:27,990 May I forget all the notes, May I lose my hearing and the beat, 352 00:51:27,990 --> 00:51:30,440 If I don't get revenge on you 353 00:51:31,780 --> 00:51:36,680 Let's hide here, let's see the end of his treachery; 354 00:51:38,500 --> 00:51:44,400 After I've spent so much, given her a house and furniture, taught her music, 355 00:51:44,400 --> 00:51:52,800 She deceives me like this? Ah, faithless women! Hanged and quartered be he who believes in you! 356 00:51:54,900 --> 00:51:57,200 You see, you must come to terms with it! 357 00:51:57,680 --> 00:52:01,150 I have always been spying, but I've never seen him 358 00:52:01,150 --> 00:52:02,550 Oh, come on! 359 00:52:02,550 --> 00:52:05,960 I had to give way to the signor Maestro 360 00:52:06,340 --> 00:52:11,720 Now I give way to you; Ah, such are human affairs 361 00:52:11,900 --> 00:52:13,680 Bu why "give way" at all? You are crazy! 362 00:52:13,680 --> 00:52:17,720 But why did you make me pretend to be a seller of these fabrics, 363 00:52:17,720 --> 00:52:20,560 Having the Maestro pay for them? 364 00:52:20,560 --> 00:52:23,360 It shows that he loves you, and you... 365 00:52:23,360 --> 00:52:26,960 Ah, foolish! He owes me fifteen zecchini; 366 00:52:27,180 --> 00:52:32,560 He had nothing to wear, so I try to settle it as best I can 367 00:52:32,560 --> 00:52:39,120 Ah false, ah feigned, more false than falsetto itself! 368 00:52:41,460 --> 00:52:43,480 But how much does he still owe? 369 00:52:43,480 --> 00:52:45,480 Four zecchini 370 00:52:45,480 --> 00:52:46,920 Don't press him for the rest 371 00:52:46,920 --> 00:52:49,160 No, I want to pay 372 00:52:49,160 --> 00:52:51,000 Tell me, madam, do I owe it? 373 00:52:51,000 --> 00:52:52,680 Oh, ruin! 374 00:52:52,680 --> 00:52:54,320 What are you doing? 375 00:52:54,320 --> 00:52:57,080 Quiet, goat face! Take this, 376 00:52:57,580 --> 00:52:59,760 Here is the money! 377 00:52:59,760 --> 00:53:03,240 Quick to the table, now that you have arrived 378 00:53:03,240 --> 00:53:05,920 Ah, my downfall has come! 379 00:53:06,000 --> 00:53:07,720 Signor Maestro! 380 00:53:07,720 --> 00:53:10,560 Signor cuckold, adieu! 381 00:53:24,420 --> 00:53:32,720 Wicked, deceiver, traitor 382 00:53:32,720 --> 00:53:34,360 Don't shout! 383 00:53:34,360 --> 00:53:36,040 For pity's sake! 384 00:53:36,040 --> 00:53:40,560 My lord, kill her, for all she is worth 385 00:53:40,560 --> 00:53:44,320 I want to shout from the balconies: These women, my lords, 386 00:53:44,320 --> 00:53:51,720 Are false and assasins; let's just say they're singers, trust me! 387 00:53:51,720 --> 00:53:53,320 What a disaster! 388 00:53:53,320 --> 00:53:55,400 What misfortune! 389 00:53:55,700 --> 00:54:01,960 For the worry and fear I can barely stand 390 00:55:22,980 --> 00:55:29,300 We throw ourselves at your feet 391 00:55:29,300 --> 00:55:36,320 Away from me, ungrateful people, you will be castigated 392 00:55:36,620 --> 00:55:43,800 My fabric, my diamonds, Tut! Those tears won't help, 393 00:55:44,000 --> 00:55:47,080 Now I'll have you imprisoned 394 01:01:15,000 --> 01:01:17,480 Ah, we are ruined! 395 01:01:17,480 --> 01:01:18,880 What shall we do? 396 01:01:19,220 --> 01:01:23,880 In doing it your way, I find myself reduced to this state 397 01:01:24,180 --> 01:01:27,960 Had you listened to me, you wouldn't have run this risk 398 01:01:27,960 --> 01:01:31,160 You should have broken your neck when you came into the house, 399 01:01:32,000 --> 01:01:34,160 Ragged swindler! 400 01:01:34,740 --> 01:01:38,960 Yes, fine lady, don't get me started 401 01:01:38,960 --> 01:01:42,480 Speak, speak, so you may burst! 402 01:02:27,620 --> 01:02:44,360 Good sir, please execute your duty with rigor 403 01:02:46,050 --> 01:02:48,840 This house is my property, 404 01:02:50,000 --> 01:03:00,120 These women must go away; 405 01:03:00,120 --> 01:03:00,120 Hurry up, good sir! 406 01:05:07,620 --> 01:05:10,500 What could this possibly mean? 407 01:05:11,500 --> 01:05:13,440 Virtuous lady, 408 01:05:13,440 --> 01:05:17,040 It means, you are to be evicted from this house 409 01:05:17,340 --> 01:05:19,600 Which is mine, along with all the furniture, 410 01:05:19,600 --> 01:05:22,840 That you compensate me for the rent 411 01:05:23,100 --> 01:05:28,800 And then go in peace, far from me, wherever you like 412 01:05:29,040 --> 01:05:30,960 The jig is up 413 01:05:30,960 --> 01:05:32,700 Its time to cut and run; 414 01:05:32,700 --> 01:05:36,080 Now, let's take what's ours and go! 415 01:05:37,180 --> 01:05:39,500 Imprison her, she's her mother 416 01:05:39,500 --> 01:05:41,440 Me? I don't know her 417 01:05:41,440 --> 01:05:45,480 Speak of it to her, even kill her, my gentlemen! 418 01:05:47,500 --> 01:05:49,360 Evict, evict, out quickly! 419 01:05:49,360 --> 01:05:51,390 Wait, what kind of treatment is this? 420 01:05:51,390 --> 01:05:54,840 Let me first find another house to rent 421 01:05:54,840 --> 01:06:00,560 What house? Sir bailiff, if she doesn't leave willingly, you know what to do 422 01:06:01,420 --> 01:06:03,760 Slow down, unworthy henchman; 423 01:06:03,760 --> 01:06:07,920 Don't lay hands on a virtuous woman! 424 01:06:07,920 --> 01:06:09,840 Virtuous about what? 425 01:06:09,840 --> 01:06:11,920 Drag her away! 426 01:06:12,340 --> 01:06:15,520 Ah dear Don Pelagio! 427 01:06:15,520 --> 01:06:16,300 Pity! 428 01:06:16,300 --> 01:06:17,240 I'm deaf 429 01:06:17,240 --> 01:06:19,560 Oh God! 430 01:06:20,780 --> 01:06:37,920 Oh, may my tears move you to pity! 431 01:06:58,740 --> 01:07:01,850 There's no one to help me, 432 01:07:02,100 --> 01:07:10,960 There's no one who hears me 433 01:07:17,100 --> 01:07:23,760 Afflicted and sorrowful, 434 01:07:23,760 --> 01:07:29,300 I have no more voice 435 01:09:47,020 --> 01:09:50,120 Miserable girl! Where will she go? 436 01:09:50,820 --> 01:09:53,880 If she had stayed just a little longer, 437 01:09:53,880 --> 01:09:57,240 She would have already seen my tears come out 438 01:09:57,980 --> 01:10:01,440 Truly, the punishment is too harsh; 439 01:10:03,940 --> 01:10:07,160 But what worse does that ungrateful one deserve? 440 01:10:12,700 --> 01:10:16,000 Come on, porters, bring these things into my house! 441 01:10:16,940 --> 01:10:21,160 Careful, there's some of my stuff that I left in there 442 01:10:21,160 --> 01:10:23,160 Like what? 443 01:10:23,160 --> 01:10:25,880 A little box full of makeup, 444 01:10:25,880 --> 01:10:29,880 A comb and a real mirror 445 01:10:31,060 --> 01:10:33,600 You had left all this capital 446 01:10:35,140 --> 01:10:37,600 Did you find it? 447 01:10:37,600 --> 01:10:39,320 Here it is 448 01:10:49,700 --> 01:10:50,620 Where are you going? 449 01:10:51,060 --> 01:10:53,820 Desperate to throw myself into some ditch 450 01:10:53,820 --> 01:10:56,360 (Poor girl! I can bear no more.) 451 01:10:56,920 --> 01:11:01,320 I know that I don't even deserve to be looked at by you, 452 01:11:01,320 --> 01:11:04,280 I confess my fault, 453 01:11:04,280 --> 01:11:09,200 But first, I humbly ask for your forgiveness, 454 01:11:09,200 --> 01:11:11,300 Then I'll leave, farewell! 455 01:11:11,300 --> 01:11:15,600 (Oh I might die.) Listen, daughter, I forgive you; 456 01:11:15,600 --> 01:11:17,480 I give you the back rent, 457 01:11:17,480 --> 01:11:21,000 And so it won't be said that I am so cruel, 458 01:11:21,000 --> 01:11:25,440 you may stay in the house, until you find another arrangement 459 01:11:26,500 --> 01:11:30,120 Oh heavens! This is a favor I do not deserve; 460 01:11:30,120 --> 01:11:32,640 Oh, how good you are! 461 01:11:32,640 --> 01:11:35,480 Let me at least kiss your hand 462 01:11:35,860 --> 01:11:38,040 No, no! (Now, what should I do?) 463 01:11:38,040 --> 01:11:41,800 Wait, porter, leave her the bed as well; 464 01:11:42,020 --> 01:11:45,240 Let my grace be extended today! 465 01:11:45,240 --> 01:11:50,560 What do I hear! Ah, another kiss I want to press upon that hand 466 01:11:52,620 --> 01:11:56,480 Hey there, porters, leave her the harpsichord as well; 467 01:11:56,620 --> 01:12:01,760 Study and wait! See how good I am, 468 01:12:02,100 --> 01:12:14,640 Forgetting so many of your faults: But pity is the trait of heroes 469 01:12:15,700 --> 01:12:22,800 I see it, and am confused; Ah, another time let me kiss your hand! 470 01:12:22,800 --> 01:12:27,120 Porters, slowly, slowly; leave her every thing! 471 01:12:27,120 --> 01:12:32,800 What a generous soul! Ah, I want to throw myself at your feet 472 01:12:32,800 --> 01:12:34,760 And never leave again 473 01:12:34,760 --> 01:12:37,000 Calm youself, what is this? 474 01:12:38,100 --> 01:12:43,280 Porters, go into the house and bring all my things here! 475 01:12:46,100 --> 01:12:50,300 But alas, I feel faint 476 01:12:50,300 --> 01:12:51,480 What is it? 477 01:12:51,480 --> 01:12:58,120 The great fear, the anger, the fasting... 478 01:13:19,620 --> 01:13:25,200 Oh heavens, help! 479 01:13:31,740 --> 01:13:35,200 Madam! Don Ettore! 480 01:13:41,420 --> 01:13:43,960 Ah, poor thing, 481 01:13:45,080 --> 01:13:46,960 How cold she is! 482 01:13:53,740 --> 01:13:59,040 If only I had the carafe of lemon balm to revive her... 483 01:14:16,900 --> 01:14:19,240 I am called here 484 01:14:19,240 --> 01:14:22,600 I too am called here 485 01:14:32,020 --> 01:14:34,320 Oh dear, I can't find it 486 01:14:44,380 --> 01:14:46,280 But what do I see? 487 01:14:51,550 --> 01:14:55,360 Ah, my daughter has fainted! 488 01:15:01,250 --> 01:15:09,080 Oh poor me, oh poor me! 489 01:15:20,500 --> 01:15:21,760 Take this! 490 01:15:22,120 --> 01:15:23,480 Take that! 491 01:15:24,540 --> 01:15:26,320 Piano! 492 01:15:27,340 --> 01:15:29,350 Oh dear, this is the purse 493 01:15:36,020 --> 01:15:40,760 What a good smell these diamonds have! 494 01:15:50,600 --> 01:15:54,960 Oh good, she can smell it, poor thing, 495 01:15:54,960 --> 01:15:57,240 She's out of her senses 496 01:16:05,420 --> 01:16:07,720 Apollonia! 497 01:16:07,720 --> 01:16:12,480 (Pretend well, my blessed daughter, It's part of the trade.) 498 01:16:12,480 --> 01:16:15,160 Ah, poor daughter! 499 01:16:15,980 --> 01:16:18,480 She's a bit of a vixen 500 01:16:18,500 --> 01:16:21,760 Come on, show some spirit, my dear! 501 01:16:26,500 --> 01:16:31,480 Awaken, my earthly goddess, 502 01:16:31,860 --> 01:16:38,040 Your loving windows, 503 01:16:38,040 --> 01:16:46,080 which without I am in the dark 504 01:16:46,900 --> 01:16:52,840 Ah, brighten those eyes, 505 01:16:52,840 --> 01:16:59,160 Look around, dear daughter, 506 01:16:59,160 --> 01:17:07,040 (Never let yourself be caught off guard!) 507 01:17:07,400 --> 01:17:14,520 I don't understand, be it shame Or rather feigned love; 508 01:17:14,520 --> 01:17:29,420 Enough, I don't want to trust 509 01:17:29,420 --> 01:17:32,520 Ah, I feel restored, 510 01:17:32,520 --> 01:17:36,040 I already find myself healed, 511 01:17:36,960 --> 01:17:44,800 Gently. Alas, I faint again 512 01:17:44,800 --> 01:17:46,680 This is a purse 513 01:17:46,680 --> 01:17:48,400 It revives me 514 01:17:48,400 --> 01:17:50,120 This is joy 515 01:17:50,120 --> 01:17:51,920 What a scent 516 01:17:52,260 --> 01:18:08,720 it truly consoles me 517 01:18:15,900 --> 01:18:21,150 This ring cheers the heart for its price, not the scent; 518 01:18:21,150 --> 01:18:28,280 Too cunning is this one 519 01:18:28,750 --> 01:18:40,760 It revives me, it truly consoles me 520 01:19:01,180 --> 01:19:02,560 My beloved! 521 01:19:02,560 --> 01:19:03,720 My dearest! 522 01:19:03,720 --> 01:19:05,040 Dear, dear! 523 01:19:05,040 --> 01:19:06,280 Darling, darling! 524 01:19:06,280 --> 01:19:08,760 You're sweet, you're nice, 525 01:19:08,760 --> 01:19:11,280 My dearest, dear! 526 01:19:11,280 --> 01:19:16,280 Don Ettore: This ring is on its way, Don Pelagio: I want to offer away my purse 527 01:19:16,280 --> 01:19:26,280 I want to taste my destiny, I'm prepared to triumph 528 01:19:59,260 --> 01:20:01,880 Would you offer it to me? 529 01:20:03,900 --> 01:20:06,520 I do not regret it 530 01:20:08,950 --> 01:20:10,860 This as a gift? 531 01:20:14,060 --> 01:20:19,240 I present it to you 532 01:20:22,380 --> 01:20:26,240 Long life to us, long life to the Maestro! 533 01:20:26,460 --> 01:20:30,280 He no longer resembles a disaster 534 01:20:30,280 --> 01:20:39,760 That can dismay us 535 01:20:55,700 --> 01:20:59,800 If all of us can live in peace 536 01:20:59,800 --> 01:21:03,480 And join in joyous song 537 01:21:03,480 --> 01:21:13,400 We can remain happy together 538 01:23:54,500 --> 01:24:01,000 Subtitles by Michael Jurado