Corigliano GHOSTS OF VERSAILLES, ACT 1 (full score) by ScoresOnDemand

JOHN CORIGLIANO

THE GHOSTS OF VERSAILLES A Grand Opera Buffa in Two Acts

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

libretto by William M. Hoffman

Full Score Act I

From the G. Schirmer Rental Library Date of Printing________________

Important Notice

Performances of this opera must be licensed by the publisher. All rights of any kind with respect to this opera and any parts thereof, including but not limited to stage, radio, television, motion picture, mechanical reproduction, translation, printing, and selling, are strictly reserved. License to perform this work, in whole or in part, whether with instrumental or keyboard accompaniment, must be secured in writing from the Publisher. Terms will be quoted upon request. Copying of either separate parts or the whole of this work, by hand or by any other process, is unlawful and punishable under the provisions of the U.S.A. Copyright Act. The use of any copies, including arrangements and orchestrations, other than those issued by the Publisher, is forbidden. All inquiries should be directed to the publisher: G. Schirmer Rental Department 2 Old Route 17 Chester, NY 10918 (845) 469-4699 (845) 469-7544 (fax)

Performance material available on rental.

CONTENTS

Act I Prologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Scene 5, Finale . . . . . . . . . . . . . . . . . . . . . 219 Act II (bound separately) Scene 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Scene 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Scene 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Scene 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Scene 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Scene 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Finale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

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

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

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

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

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

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

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

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

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

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

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

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

Ghost Quartet (SATB)

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

(soloists playing multiple supporting roles)

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

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

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

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

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

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

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

etc.

might be realized as:

etc. Keep the ﬁguration chromatic and constantly changing.

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

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

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

Corrected 2014

Overture = 72 (HARPSICHORD)

secco

Synth.

Harp

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

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

Beau.

Watch!

= 72 1 solo, pizz., senza sord.

arco

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

Va. div., senza sord.

1 2

Vc.

1 solo, pizz., senza sord.

arco

pizz.

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

Cb.

Synth.

Harp

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

(…and is about to sit down, when…)

(solo)

I Vn. II (sola) arco

Va. arco

pizz.

1 2

(arco) pizz.

Vc.

(pizz.)

1 (arco)

Cb.

arco

Aria = 144

Picc.

1 2

Fl.

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn. open

1 2 Hn. in F

3., open

3 4

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

Timp.

1 Wd. Blks.

Perc.

2 cue Stage Door Knocking

Synth.

Piano

Harp

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

(door knocking)

Stg. Dr. Knocking

= 144 I Vn. II

Va. Vc.

Cb.

74 Piccolo

Picc.

1 2

Fl.

1 2 Ob. 3 a2

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4 open

take straight mute

1 2 Tpt. in C

open

take straight mute

3 4 open

1 2 Tbn.

3., open

3 Tba. with hard sticks

Timp.

1 (Wd. Blks.)

Perc.

2 (Stage Door Knocking)

Synth.

Piano

Harp

Figaro

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

I Vn.

div.

II non div.

Va. div.

Vc.

Cb.

unis.

They wish they could stop me.

They

Picc.

1 2

Fl.

1 2 Ob.

to English Horn

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4

1 2 Tpt. in C 3 4 take straight mute

1 2 Tbn.

(3.)

take straight mute

3 Tba.

Timp.

1 Wd. Blks.

Perc.

2 (Stage Door Knocking)

Synth.

Piano

8va

Harp

Figaro

hate

me,

they loathe me.

Tell

why

do they tor ment me so.

Stg. Dr. Knocking

I Vn. II

Va.

Vc. pizz.

Cb.

34 Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 with straight mute

1 2 Tpt. in C

3., with straight mute

3 4 1 2 Tbn. 3 Tba.

Timp.

1 Wd. Blks.

Perc.

2 (Stage Door Knocking)

Synth.

Piano

Harp

(smiles shyly)

(laughs)

falsetto sweetly

(laughs)

Figaro

They’re

jea lous!

They’re jea lous!

They’re jea lous,they’rejea lous.

They’re

Stg. Dr. Knocking

I Vn.

unis.

Va. (div.)

Vc.

(pizz.)

Cb.

arco

Picc.

Fl.

1 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2 Hn. in F 3 4 (with straight mute)

(with straight mute)

with straight mute

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

Timp. (Wd. Blks.)

2 (Stage Door Knocking)

Perc. 3

Synth.

Piano

Harp

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

Figaro

jea

lous!

what,…

Stg. Dr. Knocking arco, div.

pizz.

I Vn.

pizz.

div.

arco

II (non cresc.) pizz.

div.

arco

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

arco

div.

Vc. (non cresc.) div.

Cb.

* ossia:

(t)

35 to Flute

Picc.

1 Fl.

1 *

Ob. 2

to Oboe

E.H.

Cl. in B

1 2

Bs. Cl. 1 2

Bn.

1 *

2 Hn. in F

1 2 Tbn.

Tba., (with straight mute)

3 Tba. Timp. Vib.

1 Perc.

Pedal

2 3

Synth.

Piano

Harp

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

Figaro

You may ask.

I Vn. II unis.

Va. unis.

Vc. unis., pizz.

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

79 (

= 144)

Continue in tempo, ignoring conductor

1 2 Fl. 3

Ob.

1 2

Cl. in B

1 2

Bs. Cl. *

1 Bn. *

2 *

Cbn.

2 Hn. in F

open

4 (with straight mute)

1 (with straight mute)

Tbn.

2 (Tba.)

3 Tba. (Vib.)

Perc.

Synth.

Piano

with nails

E F G A B C D

Harp

Slow and plodding

(May start earlier)

= ca. 68 **

Figaro

I pant

(

= 144)

Continue in tempo, ignoring conductor

I Vn. II

Va.

Vc. Slow and plodding (May start earlier) 2 soli, div., arco

= ca. 68

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

when I walk.

= ca. 68 (out

in out

) 3

Figaro 3

wheeze

when I

talk.

(cough)

My mus cles are slack.

I’ve a pain in my back.

I Vn. II

Va.

Vc. (2 soli, div.)

Cb.

37 open

1 2 Tpt. in C

sub.

3., open

3 4 sub.

1 2 Tbn.

(with straight mute)

3 Tba. sim.

Perc.

2 Low Drum 3

Figaro 3

My mo

I Vn. II

Va.

Vc. (2 soli, div.)

Cb.

ney is low,

my sta tus

less than quo.

I’m poor,

I’m weak,

81 3

= 1 2 Fl. 3

1 2 Ob. 3 1.

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn. open

1 2 brassy

Hn. in F

sub.

4., open

3 4 brassy

sub.

take straight mute

1 2 Tpt. in C

take straight mute

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

2 (Low Dr.)

Synth.

Piano

Harp

Figaro

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

I’m spent,

I’m

al most im po tent. Once mas ter

now va let,

for tune would have it,

I’ve been 3

unis. 3

I unis.

Vn.

3 3

Va. 3

Vc. (2 soli, div.)

Cb.

tutti arco, unis.

div.

38 (1.)

Cl. in B

1 2

Piano

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

Slowly at first; pause at ’

cadenza (still slow)

Figaro

di plo mat, ac ro bat, Teach er of

i quette, Stu dent and swords man,

Spy and mu si

cian.

I’ve been sa tir ist, pes si mist,

I Vn. II

Va.

Vc.

Cb.

Piano

Figaro

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

Vet ’ri na ri an,

E gal

tar

an,

Heath en co me di an, Pi ous tra

I dolce div.

Vn. II

dolce unis.

Va. dolce

Vc. dolce

Cb.

unis.

83 accel. poco a poco

= 144

1 2 Fl. 3

1 2 Ob. 3

1 2

Cl. in B

Bs. Cl. 1.

1 2

Bn.

Cbn.

1 2

Hn. in F

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

Timp.

Perc.

Synth.

Piano

Harp

cadenza Figaro

di an.

I’ve been or

a tor, po et, And

pi rate and pro phet, A

I Vn. II

Va. div.

Cb.

bies, Drunk en and so ber, A

= 144

accel. poco a poco

Vc.

man for the la dies And fa ther of ba

84 rall.

subito a tempo (with élan)

= 144

1 2 Fl. 3

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl. 1.

1 2

Bn.

Cbn.

1 2 Hn. in F 3 4 with straight mute

1 2 Tpt. in C

3., with straight mute

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

Synth.

Piano

Harp

Figaro

hus band and Sail

or,

Bank er and bar ber And broth er and lov

rall.

er.

Di plo mat, ac

subito a tempo (with élan) pizz.

I Vn.

pizz.

Va. unis.

pizz.

Vc. pizz.

Cb.

ro bat, Teach er

= 144

i quette, Stu dent and swords man,

85 1 2 Fl. 3

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl. (1.)

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 remove mute

1 2 Tpt. in C

remove mute

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

Synth.

Piano

Harp

Figaro

Spy and mu

(pizz.)

cian,

tir ist, pes

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

con

o mist, Clock mak er, phar ma cist,

Vet ’ri nar arco

I Vn.

(pizz.)

dolce div., arco

(pizz.)

dolce arco

Va. (pizz.)

dolce arco

Vc. (pizz.)

Cb.

dolce

an,

86 1 2 Fl.

Flute

to Piccolo

1 2 Ob.

Oboe

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2

Hn. in F

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

Timp.

Perc.

Synth.

Piano

Harp

Figaro

gal

an,

Heath en co me di an,

Pi ous tra ge

di an,

tor, po et, And

pi rate and pro phet, A

man for the la dies And

I Vn.

unis.

Va.

div.

Vc.

arco

Cb.

41 rall.

a tempo

Picc.

1 2

Fl.

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl. a2

(1.)

1 2

Bn.

cresc. poco a poco to Bassoon

Cbn. cresc. poco a poco (2.)

1 2

Hn. in F

(3.)

3 4 open

1 2 Tpt. in C

staccatissimo

open

3 4 staccatissimo

1 2 Tbn.

open

3 Tba. staccatissimo

Timp. secco

Perc.

2 Choke Cym.

3 secco

Synth.

secco

Piano

Harp

cresc. poco a poco

Figaro

fath er

bies, Drunk en and so ber, A

hus band and sail

or,

Bank er and bar ber And broth er and lov

rall.

er.

Di plo mat, ac

a tempo

I cresc. poco a poco

Vn. non div.

II cresc. poco a poco non div.

Va. (div.)

cresc. poco a poco unis.

Vc. cresc. poco a poco

Cb. cresc. poco a poco

ro bat,

non div.

88 Piccolo

Picc. 1.

1 2

Fl.

1 2 Ob. 3 1.

Cl. in B

1 2

Bs. Cl.

1 2 Bn. 3

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

Timp. Glock.

Perc.

2 (Cym.)

Synth.

Piano

Harp

Figaro

Teach er

(non div.)

I Vn.

(non div.)

II (non div.)

Va.

Vc.

Cb.

i quette, Stu dent and swords man,

Spy and mu

cian,

tir ist, pes

si mist, Sur geon and Cal vin ist,

Span ish

con

o mist,

Picc. (1.)

1 2

Fl.

(1.)

1 2 Ob. 3 (1.)

Cl. in B

1 2

Bs. Cl.

1 2 Bn. 3 (1.)

1 2 Hn. in F 3 4

1 2 Tpt. in C 3 4 open

1 2 Tbn. 3 Tba.

Timp. (Glock.)

Perc.

2 (Cym.)

Synth.

Piano

Harp

Figaro

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

er, Drunk en and so ber, A

hus band and sail or, And

now div.

I Vn.

div.

II div.

Va. div.

Vc. div.

Cb.

I’m

42 a tempo *

Picc.

1 2

Fl.

1 2 Ob. *

Cl. in B

1 2

Bs. Cl.

1 2 Bn.

Bassoon

3 *

1 2 Hn. in F

3 4

1 2 Tpt. in C

3 4

1 2 Tbn.

Tba.

3 Tba.

Timp.

Perc.

1 2 3

Synth.

Piano

Harp

Figaro

fail

ure!

I’ve

seen

a tempo div. al sord.

div. a2

Vn.

al sord.

II div. unis.

Va.

div. a2

Vc. unis.

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

’ry

thing,

done

Picc.

1 2

Fl.

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl.

1 2 Bn.

to Contrabassoon

1 2

Hn. in F

3 4

1 2 Tpt. in C 3 4 *

1 2 Tbn.

3 Tba.

Timp.

Perc.

2 B.D.

Synth.

Piano

with nail

E F G A B C D

Harp

tratt.

Figaro

’ry

thing,

had

’ry

thing,

I Vn. II

Va.

Vc.

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

and lost

’ry

thing.

92 = 80–84

Picc.

1 2

Fl.

1 2 Ob. 3

1 2

Cl. in B

to Clarinet in B

Bs. Cl. 1.

1 2

Bn.

legatissimo

Cbn.

1 2

Hn. in F

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

Timp.

Perc.

Synth.

Piano

Harp

Marie Antoinette:

M.A. 3

Poor Fi ga ro. Woman with Hat:

W. w/Hat

Poor man,

poor

man.

freely

Figaro

what

then

are

they

jea

= 80–84

lous?

div., con sord.

I Vn.

div., con sord.

II div.

al sord.

(div.)

al sord.

Va.

Vc. div.

Cb.

spir

Picc. 1.

1 2

Fl.

legatissimo

1 2 Ob. 3 1. 3

1 2 Cl. in B

legatissimo

3 (1.)

1 2

Bn.

Cbn.

1 2 legatissimo

Hn. in F

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

Timp.

Perc.

Synth.

Piano

Harp

slow and even 3

Figaro

por

del

ques

cent,

fer

ves

cent

I Vn. II unis., con sord. 3

Va. unis., con sord.

Vc. legatissimo

Cb.

Picc. 1.

1 2

Fl.

1 2 legatissimo

Ob. 3

1 2 Cl. in B 3

1 2

Bn.

Cbn. (2.) 1.

1 2 Hn. in F

legatissimo

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

Timp.

Perc.

Synth.

Piano

Harp

Figaro 3

quid Per va ding, in va

ding, tak ing my bo dy,

Mak ing me flu id,

light,

buo yant, I’m sun light,

moon beam, And

care free I fly to the

unis. (con sord.)

I Vn.

legatissimo

unis. (con sord.)

II legatissimo 3

Va. 3

3 3

Vc. unis. (div.)

Cb.

3 3

legatissimo

44 Picc. (1.) 1.

1 2

Fl.

(1.)

1 2 Ob. 3

1 2 Cl. in B

Clarinet in B

1 2

Bn.

Cbn.

(1.)

1 2

Hn. in F

3 4

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

Timp. Glock., with soft sticks

Crot.

Perc.

3 (woodwinds)

Synth.

Harp

poss.

= ca. 84 dolce

Figaro

stars.

Ca pel div. a3

I div. a3

Vn. II div. a4

Va. 3 players

Vc. dolce

Cb.

la,

Ca ri

na,

Spi

ca, Au ri

ga,

bra,

Ly ra,

Picc. (1.)

1 2

Fl.

1 2 Ob. 3

1 2 Cl. in B 3 (1.)

1 2

Bn.

Cbn.

1 2

Hn. in F

(3.)

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

Timp. (Glock.)

1 (Crot.)

Perc.

Synth.

Piano

dolce

Harp

Figaro

dro

(div. a3)

I (div. a3)

Vn. II

(div. a4)

Va. (3 players)

Vc.

Cb.

da,

For

nax,

Phoe nix, Bel

trix,

Pol

lux

Joy!

Care free

fly

the

Picc. (1.)

1 2

Fl.

1 2 Ob. 3

1 2 Cl. in B 3 (1.)

1 2

Bn.

Cbn.

1 2

Hn. in F

(3.)

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

Timp. (Glock.)

1 (Crot.)

Perc.

2 Vib. l.v.

3 (GUITAR)

Synth.

Pedal

dolce

Piano

Harp

dolce

(dolce)

Figaro

stars.

Vul

Vn. I solo dolce

Vn. I gli altri

Vn. II

Va. 3 soli, div. 3 soli, unis.

Vc.

div., pizz.

Cb.

la,

lum

ba,

ra,

La cer

ta,

Picc. (1.)

1 2

Fl.

1 2 Ob. 3

1 2 Cl. in B 3 (1.)

1 2

Bn.

Cbn.

1 2

Hn. in F

(3.)

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

Timp. (Glock.)

1 (Crot.)

Perc.

2 (Vib.)

(GUITAR)

Synth.

Piano

Harp

Figaro

Vn. I solo

Vn. I gli altri

Vn. II

Va. (3 soli)

Vc.

Cb.

pus,

Joy!

ga sus,

Per

se us,

A qui la.

45 = 144 Picc. (1.)

Fl.

1 2 1 2

Ob. 3

1 2 Cl. in B 3 (1.)

Bn.

1 2

Cbn. (1.)

Hn. in F

(ad lib.)

1 2 (3.)

3 4 with straight mute, ad lib.

1 2 Tpt. in C

3. with straight mute, ad lib.

3 4 1., with straight mute, ad lib.

1 2., with straight mute

Tbn. 2

Timp. (Glock.)

1 (Crot.)

Perc.

2 Stage Door Knocking

3 Door Slam

Synth.

Piano

Harp

Figaro

Stg. Door knocking

= 144 Vn. I solo

Vn. I gli altri

Vn. II

Va. (3 soli)

Vc.

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

Wd. Blks.

100

Picc. (1.)

1 2

Fl.

1 2 Ob. 3

1 2 Cl. in B

to Bass Clarinet

3 (1.)

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4 remove mute

1 2 Tpt. in C

remove mute

3 4 remove mute

1 2 Tbn. 3 Tba.

Timp. (Glock.)

1 Stage Door Knocking (Crot.)

Perc.

2 (Stage Door Knocking) Wd. Blks.

Synth.

Piano

Harp

Figaro

Stg. Door knocking

Vn. I solo unis.

via sord.

unis.

via sord.

unis.

via sord.

Vn. I gli altri

Vn. II

Va. (3 soli)

Vc.

Cb.

101

46 Picc.

1 2

Fl.

1 2 Ob. 3 a2

Cl. in B

1 2 Bass Clarinet

Bs. Cl.

1 2

Bn.

Contrabassoon

Cbn.

1 2 Hn. in F

3 4 open a2

take straight mute

1 2 Tpt. in C

3., open

take straight mute

3 4 open

1 2 Tbn.

3 Tba. with hard sticks

Timp.

1 Stage Door Knocking

Perc.

2 Stage Door Knocking

Stage Door Knocking

Wd. Blks.

Synth.

Piano

Figaro

They wish they could kill me. Stg. Door knocking

senza sord.

non div.

I Vn.

senza sord.

div.

II senza sord.

non div.

Va. tutti, senza sord.

Vc. unis., arco

Cb.

div.

unis.

102

Picc.

1 2

Fl.

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4

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

3 Tba.

Timp.

1 (Stage Door Knocking)

Perc.

Synth.

Piano

Harp

Figaro

They wish they could stop me.

They hate me,

they loathe me,

And

know why.

They must tor ment me so!

Stg. Door knocking

I Vn. II

Va.

Vc. pizz.

Cb.

103

Picc.

1 2

Fl.

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 with straight mute

1 2 Tpt. in C

3., with straight mute

3 4 1 2 Tbn. 3 Tba.

Timp.

1 (Stg. Dr. Knocking)

Perc.

2 (Wd. Blks.)

Synth.

Piano

Harp

Figaro

They’re

jea lous!

They’re jea lous!

They’re jea lous,they’re jea lous!

They’re

Stg. Door knocking

I Vn.

unis.

Va. div.

Vc. (pizz.)

Cb.

arco

104

47 Picc.

1 2

Fl.

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2 Hn. in F 3 4

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

Timp.

1 (St. Dr. Knocking)

Perc.

2 Wd. Blks.

Synth.

Piano

Harp

Figaro

jea

lous!

Yes,

jea

Stg. Door knocking

pizz.

arco

pizz.

arco

I Vn.

div.

II pizz.

arco

Va. unis., pizz.

Vc.

Cb.

arco

div.

lous

105

Picc. a2

1 2

Fl.

1 2 Ob. 3

Cl. in B

1 2 to Clarinet in B

Clarinet in B

Bs. Cl.

1 2

Bn.

Cbn.

1 2 Hn. in F 3 4 2. take straight mute

2., st. mute

2., open

1 2 1.

Tpt. in C

4., open

(with st. mute) take straight mute

3., open

with straight mute

3 4 with straight mute

take straight mute

1 2 Tbn.

3. take straight mute

3., with straight mute

3 Tba.

Timp. (St. Dr. Knocking)

2 Crash Cym.

Perc. 3

Synth.

Piano

Harp

Figaro

ro,

Stg. Door knocking

I Vn.

div.

Va.

Vc.

Cb.

your

ga ro.

I’m

106

Picc.

(a2)

1 2

Fl.

1 2 Ob. 3

1 2 Cl. in B 3

1 2

Bn.

Cbn.

1 2

Hn. in F

3 4 (2.)

remove mutes

1 2 (1.)

Tpt. in C

remove mutes

3 4 remove mute

1 2 Tbn.

remove mute

3 Tba.

Timp.

Perc.

Synth.

Piano

Harp

Figaro back

last!

I’ve been a

vet er in ar

i an,

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

I unis. div.

Vn.

unis.

Va.

Vc. flautando, long bow

Cb.

pi ous tra ge di an,

107

48 Picc.

1 2

Fl.

1 2 Ob. 3 a2

1 2 Cl. in B 3 1.

1 2

Bn.

to Bassoon

Cbn.

1 2

Hn. in F

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

Timp.

Perc.

Synth.

Piano

Harp

Figaro

tor, po

et, And

pi rate and pro phet, A

man for the la dies And

fath er

bies, Drunk en and so ber, A

hus band and sail

pizz.

I Vn.

pizz.

II pizz.

arco

pizz.

Va.

pizz.

div.

arco

Vc.

pizz.

Cb.

arco

unis.

or,

108 poco rall.

a tempo

Picc.

1 2

Fl.

1 2 Ob. 3 a2

1 2 Cl. in B 3 a2

1 2 Bn.

Bassoon

1 2 Hn. in F 3 4 open

1 2 Tpt. in C

secco staccatissimo

open

3 4 secco staccatissimo

open

1 2 Tbn.

open

Tba.

3 Tba. secco, staccatissimo

Timp. Xyl.

1 Choke Cym.

Perc.

2 Stage Door, Knocking Tenor Drum and T. Blks.

Synth.

Piano

Harp

Figaro

Bank er and bar ber and broth er and lov

er.

Dip lo mat, ac

ro bat, Teach er of

i quette, me!

Stg. Door knocking

poco rall.

a tempo non div., arco

I div.

Vn. non div., arco

II non div., arco

Va.

Vc.

Cb.

Tba.

109

49 Picc. a2

1 2

Fl.

1 2 Ob. 3 a2

1 2 Cl. in B

to Bass Clarinet

3 a2

1 2 Bn.

to Contrabassoon

1 2

Hn. in F

3 4

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

Tba.

3 Tba.

Timp.

Xyl.

1 Choke Cym.

Perc.

S.D.

2 Ten. Dr. and T. Blks.

Synth.

Piano

Harp

Figaro

tir ist, pes

si mist, Sur geon and Cal vin ist,

Stg. Door knocking 8va

non div.

I 8va

Vn.

non div.

II non div.

Va.

Vc.

Cb.

div.

’ve

been

dip

lo mat, ac

ro bat, Teach er

i quette,

110 (

= )

Picc.

1 2

Fl.

1 2 Ob. 3

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2

Hn. in F

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

Timp.

1 S.D.

Perc.

2 Stg. Dr. Knocking

Synth.

Piano

Harp

Figaro

Stu dent and swords

man,

Spy and mu

cian,

tir

ist,

pes

Stg. Door knocking

(

= )

I Vn.

unis., pizz.

II pizz.

Va. pizz.

Vc. div., pizz.

Cb.

mist,

Sur geon and

Cal

vin

ist,

Span ish

no mist,

111

Picc.

1 2

Fl.

1 2 Ob. 3 Cl. in B

1 2

Bs. Cl. a2

1 2

Bn.

Contrabassoon

Cbn.

1 3

Hn. in F

2 4 1 2 Tpt. in C

3 4

1 2 Tbn.

Tba.

3 Tba.

Timp.

1 (S.D.)

Perc.

2 (Stg. Dr. Knocking)

Piano

Harp

Figaro

Clock mak er, phar ma cist.

I’m

ro,

Stg. Door knocking

( =

)

non div.

I Vn.

(pizz.)

(

= )

arco

(pizz.)

(

= )

arco

Va. (pizz.)

arco

Vc. (div., pizz.)

Cb.

unis., arco

non div.

112

( =

)

Picc.

Fl.

1 2

Ob.

1 2 3

Cl. in B

1 2

( =

) Fl. 2 to Picc. 2

( =

)

( =

)

(

= )

Bs. Cl. a2

1 2

Bn.

Cbn. 1.

(1, 3)

1 3

Hn. in F

2, 4 a2

2 4

(

= )

(

= )

1 2

Tpt. in C

3 4 1 2 Tbn.

3 Tba.

Timp. Tamb.

1 (S.D., if necessary)

Perc.

2 (Ten. Dr.)

Hi T.-t.

3 B.D.

(Stg. Dr. Knocking)

Synth.

(

= )

(

= )

(

= )

Piano

( =

)

Harp

Figaro

Your

ro.

I’m *

Stg. Door knocking

(

= )

( =

)

( =

)

I Vn.

div.

Va.

pizz.

(

= )

(

= )

arco

Vc.

pizz.

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

arco

113

Picc.

1 2

Fl.

1 a2

1 2 Ob. 3

Cl. in B

1 2

( =

)

to Clarinet in B

( =

)

to Bassoon

( =

)

( =

)

Bs. Cl.

(a2)

1 2

Bn.

Cbn. 1.

1 2

Hn. in F

3 4 1 2

Tpt. in C

3 4

1 2 Tbn. 3 Tba.

Timp. (Tamb.)

(Ten. Dr.)

Perc.

(T.-t.) (B.D.)

2 (Stg. Dr. Knocking)

Synth.

Piano

Harp

Figaro

home

gain, getting gradually more and more wild

Stg. Door knocking

I Vn.

unis.

Va.

Vc.

Cb.

114

51 Picc.

1 2

Fl.

1 a2

1 2 Ob. 3 Clarinet in E

Cl. 2 to Clarinet in E

Cl. in E

Cl. in B

1 3 1 2

Bn.

Bassoon

3 soli, bell up

1 2 soli, bell up

Hn. in F

brassy

3 4 brassy

1 2 Tpt. in C 3 4

1 2 Tbn.

3 Tba. Timp. Xyl.

Perc.

2 (St. Dr. Knocking)

Synth.

Piano

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

Figaro

Home

(me)

gain!

Stg. Door knocking

non div., arco div., pizz.

I Vn. div., pizz.

non div., arco

div., pizz.

non div., arco

Va.

non div., arco div., pizz.

div.

Vc.

pizz.

Cb.

arco

div.

115 a2

1 2

Picc.

poss.

Fl.

1 1., 2. 3.

1 2 3

Ob.

poss.

to Clarinet in B

Cl. in E Cl. in B

1 3 1 2

Bn. 3 1., 3.

1 3 2 4

Hn. in F

2., 4.

1 2

Tpt. in C

take straight mute

3 4 1 2

Tbn.

3 Tba.

Timp. Xyl.

Stage Door

1 B.D.

Perc.

2 3 8va

Piano

Harp

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

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

M.A.

(weeping softly) Marquis

Brilliant.

Louis

Bravo, Beaumarchais Figaro

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

(applause and “bravos”)

B (applause and “bravos”)

Stg. Door knocking

I Vn. II mettere sord.

Va. unis.

mettere sord.

unis.

mettere sord.

Vc.

Cb.

124

Scene 1

Picc.

1 2

Fl.

1 2 Ob. 3

1 2 Cl. in B 3 a2

1 2

Bn.

Cbn.

( = ca. 180) 1.

Play unconducted, backstage or in orchestra 3

1 2

Hn. in F

3 4

1 2

Tpt. in C

3 4 1 2 Tbn. 3 Tba.

Timp.

( = ca. 180) Perc.

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

1 2 3

Synth.

Piano

Harp

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

(a cry of pain)

M.A.

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

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

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

Louis

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

Va. div. a4

Vc.

Cb.

125

56 a2

(slow, 1/4 tone oscillation)

1 2 Fl.

(slow, 1/4 tone oscillation)

1 2 Ob. 3 1.

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

1 2 Cl. in B 3

1 2

Bn.

Cbn. (1.)

1 2 Hn. in F

(3.)

3 4

1. (slow, 1/4 tone oscillation) ad lib. 3

1 2 Tpt. in C 3 4 1., open

take straight mute

3., open

take straight mute

1 2 Tbn. 3 Tba.

Timp. (S.D.)

Perc.

Synth.

Piano

Harp

M.A.

Save me! Save me! spoken

want to

live!

(to Marie Antoinette)

Beau.

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

I Vn. II

Va.

Vc.

Cb.

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

126

57 Andante Fl.

1 2 3

Cl. in B

(We see an apparition of Rosina high above the stage. She is seated in a chair, weeping.)

(Freely, do not line up with orchestra.)

Beau.

Rosina!

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

He and Rosina had a child…

Andante I Vn. II div.

unis.

Va. unis.

div.

Vc. pizz.

arco

Cb.

Più mosso

= 92

solo

1 3

Fl.

2 3

1 3

Cl. in B

2 3

Bs. Cl. 3

Beau.

Leon! *

And he has fallen in love with Florestine!

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

Stesso tempo

I Vn. II

Va.

Vc.

Cb.

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

127

58 (1.)

1 2 Fl. 2

Ob.

1 2

E.H.

Cl. in B

1 2

Bs. Cl. 1 2 Bn. 3 with straight mute

1 2 Hn. in F

with straight mute

3 4 with straight mute

Tpt. in C

1 2 with straight mute

3 4 with straight mute

Tbn.

1 2

Beau.

Here’s the problem.

= 144 Tbn.

1 2 3

Almaviva has never forgiven his wife’s infidelity—

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

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

Vuota

a3, open

B.D.

Perc.

3 Piano

Piano

Beau.

Patrick Honoré Bégearss!

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

Louis

= 144

div. a3 *

I Vn.

div. a3 *

II div. *

Va. div. *

Vc. div. *

Cb. *Ad lib. crescendos and diminuendos.

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

128

59 (HARPSICHORD until 64 )

Synth.

Harp

Count Almaviva: (chant) Almaviva 8

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

Ma rie An

toi nette

France…

1 solo

Vn.

I 1 sola

Va. 3 soli, div.

Vc. 1 solo

Cb.

128

Synth.

Harp

Almaviva 8

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

(1 solo)

Vn.

I (1 sola)

Va. (3 soli, div. a3)

Vc. (1 solo)

Cb.

to the English am bassador

the

reception

the Turk ish

em bas sy

129

60 Slow, like a gregorian chant Synth.

Harp

Almaviva 8

And,

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

ve Ma

gra tia ple

na.

ne dic tus

Slow, like a gregorian chant

(1 solo)

Vn.

I legato (1 sola)

Va. legato (3 soli, div. a3)

unis.

Vc. legato 2 soli, div. arco

Cb. pizz.

legato

(Hpschd. unto 64 )

Synth.

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

and Su san spoken

(interrupted)

na. whisper, aside

sung

Almaviva 8

fruc

tus

ven

tris

Those two. They mustn’t see the jewels.

Who is it?

(Allegro

= 144)

(knocking on door, interrupting chant) Figaro

Fi ga ro * Vn.

Va. div. a3

Vc.

Cb.

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

One

ment.

130

= 72 3

Synth.

8va

Harp

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

D G A

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

Susanna 3

Ti dy and clean, neat asa pin.

We won’t be a min ute.

Almaviva 8

Figaro

3 3

Just clean ing the room,mas ter.

We won’t be a min ute.

(1 solo)

Vn.

I (1 sola)

Va. arco

pizz.

Vc.

(arco)

arco

2 3 (pizz.)

pizz. pizz. (1 solo)

arco

Cb.

Synth.

Harp

sing

(snatches the necklace.)

(Almaviva snatches it back.)

Susanna

What’s this?

and de

(recitative) Almaviva 3

None of yourbus’ ness!

Figaro 3

Se crets fromyour loy

(1 solo)

Vn.

al Fi ga ro.

I (1 sola)

Va. tutti arco

div.

1 solo

Vc. 2 1, arco

div.

Cb.

Synth.

Susanna

vo ted Su san na?

For the love of God for give your wife.

Almaviva 8

De vo ted and loy al to Ro

si na and her son.

I’ll nev er for give

that wo man.

Figaro 6

And for give her son. Let him

131

Synth.

Susanna 6

My la dy has al rea dy giv en her per

mis sion. 3

Almaviva 3

How Figaro

dare she?

Flo res tine will mar ry

Bé gearss. He’s the on

man

3 3

mar ry your daugh ter.

62 Synth.

Harp

Almaviva 8

trust.

Mind your place!

Don’t be ab surd!

Figaro 6

But mas ter,

he on ly pre tends to be your friend.

He’s

spy

for the re vo lu tion ar ies.

(1 solo)

Vn.

I (1 sola)

Va. div. a3

Vc. slow, quarter-tone vibrato 2 soli

slow, quarter-tone vibrato

Cb.

132

Synth. 3

Harp

(Count Almaviva puts his hands over his ears.) Almaviva 8

Figaro

be lieve

you!

won’t

lis

ten!

(1 solo)

Vn.

I don’t

I caught his

ser vant search ing your room…

read ing your

let

ters.

I (1 sola)

Va.

(div. a3)

Vc.

(2 soli)

Cb.

3 3

132

Synth.

Harp

(tratt.)

Almaviva 3

This time you’ve gone too far!

dis

miss

you,

ro.

(Exit Count Almaviva)

Figaro

Where

did you get

that

neck lace?

(1 solo)

Vn.

sul ponticello

I (1 sola)

sul ponticello

Va. (div. a3) sul ponticello

Vc. (2 soli)

div., sul ponticello

Cb.

Synth.

Harp

(in time) 3

(tratt.) Almaviva 6

Leave at once!

You will

bey!

My wife will o bey!

I’m

still king

this house!

ord. (1 sola)

Vn.

ord. (1 sola)

Va. ord. (div. 3)

Vc. ord. (div.)

Cb.

1 solo

133

Synth.

l.v. sempre Harp

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

Susanna

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

Louis:

What’s the world com ing to?

Mas ter sneaks a round with sto

Louis

I said the very same words.

(Figaro tapping his head)

Figaro

Not so long as I have my wits. (1 sola)

Va. (1 solo)

Vc.

Synth.

Harp

Susanna

jewels;

Synth.

our

mis

tress cries

all

day.

D EFG A

Harp

Susanna

And

out

side,

Par is has gone

mad:

king has lost his

head;

the

Queen

(1 sola)

Va. (div. a3)

Vc. dolce pizz. (div.)

arco

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

len

134

Harp

legatissimo Susanna

lan guish

jail.

fright ened for sim ple folk like

us. tenderly

Figaro

san

na,

san

na,

1 solo

Vn.

I 1 sola

Va.

Vc. 1 solo

Cb.

= 144 Tbn.

1 2 3

Perc.

a3 (open)

B.D.

= 72

Synth.

Piano

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

= 72

Susanna

Bég earss and his ser

vant

Wil

molto

(offstage)

helm

Wilhelm

Ouch!

Ooh!

Argh!

Ow!

Yeow!

No, No, No, No, No!

= 72 Figaro

least Vn.

we have each

oth

er.

= 144

But who is that com ing?

Va.

Vc.

(a2)**

1 2 Tbn.

(3.) **

3 Tba. (B.D.) **

Perc.

Synth.

(They hide.) 3

Susanna

He’s al ways beat ing him. **

cresc. (coming closer)

Wilhelm 3

Figaro 3

Mi ser able man.

Let’s hide

and see what we can learn.

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

Come, Su

san

na.

(Bégearss and Wilhelm appear.)

146

1 Fl. 2 (1.)

1 2 Cl. in B 3

ad lib. patterns on the indicated pitches

(HARPSICHORD)

Synth.

ad lib. patterns on indicated pitches

legato, blurred

l.v. sempre

ad lib. patterns on indicated pitches

legato, blurred

Harp

Florestine: Florestine

Come

my love.

Continue in time, ignoring conductor Bégearss 8

love,

my love, my love, my

Continue in time, ignoring conductor

I Vn.

Continue in time, ignoring conductor

Va.

Vc.

Cb.

love…

Come

to me,

my love.

I am yours. Your mis tress, your wife,

your

147

1 Fl. 2

1 Ob. 2

1 Cl. in B

Bn.

Cbn.

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

3 sim.

sub.

Synth.

sim.

Piano

sub.

Harp

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

slave!

Oh,

Lé on,

Oh Lé on, Lé on,

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

I Vn. II

Va.

Vc.

Cb.

Lé on?

LÉ ON? Out of my way! Out of my way!

Léon and Florestine?

148

Adagio

1 2 Fl. 3

1 2 Ob. 3

1 2 Cl. in B 3 a2

1 2

Bn.

Contrabassoon

to Bassoon

Cbn.

1 2

Hn. in F

3 4 1 2 Tpt. in C 3 4 a2

1 2 3

Tbn.

3 Tba.

Timp.

Perc.

Synth.

Piano

Harp

poss. Bégearss 8

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

ME!

But don’t they know the king of beasts…

Adagio *

I Vn.

Va.

Vc.

Cb.

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

is the

163

77 1 Fl. 2

1 Ob. 2

1 Cl. in B

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp.

Perc.

3 (HARPSICHORD)

Synth.

Piano

Harp

Wilhelm:

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

(Susanna and Figaro look alarmed.)

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

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

Thnak you, Master, thank you.

Bégearss 8

Good boy. Good boy. 1 solo, pizz.

1 solo, arco

I Vn. II 1 sola, arco

Va. 3 soli

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

Cb.

164

78 3 3 3 3

Synth. 3 3

Harp

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

No, it definitely

Susanna 3

We mustwarn thecount. Figaro 3

He’ll nev er be lieveus.

(1., solo)

I Vn. II (1., sola)

Va. arco

1 2

pizz.

Vc. 3 2 soli (div.)

(arco)

Cb. pizz.

Synth.

3 3

Harp

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

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

sub.

Susanna 3

What willwe do?

All is lost!

Bégearss 8

Enough! I know which one!!

(chuckles, turning into laughter)

Figaro (1., solo)

I Vn. II (1., sola)

Va. (div.) a2

1 2 (pizz.)

Vc. 3 (2 soli, div.)

Cb.

arco

div.

165

1 Fl. 2

1 Ob. 2

1 Cl. in B

1 Bn. 2

1 Hn. in F 2

1 Tpt. in C 2

1 Tbn. 2

Timp. 1 2 3

Perc.

Synth.

Piano

Harp

(Figaro and Susanna sneak out.) Susanna

Bégearss 8

(laughter)

Figaro

3 3

As long as (1., solo)

I have my

head

I’ll

nev er give up!

Come, Su san na,

I have an i dea!

tutti, non div. 0

I Vn.

tutti, non div.

(1., sola)

tutti, non div.

Va. (3 soli, div. a3)

tutti, div. a4

Vc. (2 soli, div.)

tutti, div. a3

Cb. 0

176

Scene 3 (Allegro)

Synth.

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

Beaumarchais leaves the apron.) Rosina

For give me,

beg you, my

hus

band.

Almaviva 8

There’s no

mer

Bégearss 8

Turn

the oth

er cheek and for give

your

wife.

85 Slightly slower Synth.

Rosina

For give me, my

lord.

Almaviva 8

heart.

I’ll

ver

lent.

(aside)

Bégearss 8

For give her, my friend.

His

hat

red

fills me with joy!

Slightly slower 1., solo

I Vn. II 1., sola

Va. 3 soli

Vc. 2 soli

Cb.

a tempo

rall.

(HARPSICHORD)

Synth.

(to Almaviva) Rosina

you loved

me,

let our child ren mar

ry.

And

for

give

our

son.

(to Rosina)

Almaviva 8

Nei ther!

Ne ver!

177

86 Synth.

Harp

(to Bégearss) 5

Almaviva 8

YoulovedChe ru

no!

Now live with your shame.

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

(1., solo)

I Vn. II (1., sola)

Va. div. a3 (3 soli)

(1.)

Vc. 2. (2 soli)

1., solo

Cb.

(Exit Bégearss and Almaviva)

(to herself)

= Rosina

That

(to Rosina)

man

saint…

but

ven he

can’t

Bégearss 8

did

best.

Vc.

Rosina 5

help

me now.

am tru ly lost.

Oh,

Che ru bi

no,

(3 soli, div. a3)

Vc. 1., solo

Cb.

I gave up my life

for you.

Che ru bi no,

224 = ca. 108

1. *

Fl.

1 2 1. “Rhieta sound"—lips on string of reed *

Ob.

1 2 rough Clay Dumbec

Perc.

ad lib. similar patterns

3 Low Drum

= ca. 108 (The Pasha claps his hands, signalling the start of a new entertainment. An onstage Oboe (or optional Oboe, Flute duo) and 2 Percussionists (one dumbec, one larger drum) start playing. They are fairly deep into the stage, so their volume will not be overwhelming. They play without conductor and do not synchronize with the other music. The performers’ curtain is raised and several dancers emerge and entertain the guests, accompanied by the Flute-Oboe-Percussion music. The Pasha sits.)

Pasha

yun bas

sin.

(1.)

Fl.

1 2

Ob.

1 2

Perc.

(1.)

(Dumbec, Low Drum)

non arpeggio

Harp

dolce

Louis: (to Beaumarchais) slow, free

Louis

can’t

stay

gry

with

you,

you

old

cian.

3 stands, div. a3

Vn.

226 (1.)

Fl.

1 2

3 5

(1.)

Ob.

1 2

3 5

(Dumbec, Low Drum)

Perc.

(HARPSICHORD)

Synth.

Harp

Marie Antoinette: (overlapping Louis) (she giggles)

(Léon peeks from behind the tree.)

(Florestine sees Almaviva turning towrads them.)

(Léon hides)

M.A.

feel

tip

sy. Florestine:

Florestine 3

Quick,

Léon:

Lé

on,

hide!

Léon (div. a3)

Say it,

dar

ling,

say it!

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

225

111 1 Fl.

(buzz) Ob.

1 2 Cl. in B

3 1 2

Bn.

Cbn.

1 2 Hn. in F

3 4 1 2 Tpt. in C

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

2 (Dumbec, Low Drum)

Synth.

Harp

(Léon looks from his hiding place.)

(Almaviva turns away.)

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

Florestine

Quick ly, Rosina

Léon 3

I don’t care Almaviva 8

Oh, where is

I Vn. II

Va.

Vc.

Cb.

he?

The Am bas sa

dor is

late.

bout

your

fath er.

Say it,

begyou.

dear est…

226

Fl.

1 3

Ob.

1 3

1 2 Cl. in B

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4 1 2 Tpt. in C

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

2 (Dumbec, Low Drum)

Synth.

Harp

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

Rosina:

Rosina 3

Lis ten to

rea son.

Do not sell the jewels

Susanna:

to night.

Susanna:

But,

mas ter…

Léon 3

Almaviva:

Almaviva 3

mind

(div. a3)

I Vn.

div.

Va.

Vc.

Cb.

unis.

is made up.

no long er

know

who I

227

Fl.

1 3

Ob.

Perc.

(Dumbec, Low Drum)

Synth.

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

Florestine

Poor lad… 3

Léon

what I’m

do ing.

One mo ment I’m

fire,

the next,

I’m

ice.

Say

it,

dar ling:

Do you

love me?

(div. a3)

Vn.

112

Fl.

Ob.

Perc.

(Dumbec, Low Drum)

Synth.

Léon

A wake

I think of you, a sleep

Marquis: (to Beaumarchais) slow, free

Marquis 8

She

loves

you.

(div. a3)

I Vn.

div.

II div.

Va. div.

Vc.

Cb.

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

think of you.

228

Fl.

Ob.

1 2 Cl. in B

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4 1 2 Tpt. in C

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

2 (Dumbec, Low Drum)

Synth.

Harp

dolce

Florestine 3

Oh,

why do

love

such

sil ly,

use

less

boy? (with wonderment)

Léon

She loves

me!

You

Beaumarchais:

love

me!

Say

(to himself, with wonderment)

Beau.

She (div. a3)

loves

me.

1 solo

I div. a3

Vn. II

dolce (div.)

1 sola

Va. dolce

3 soli

(div.)

Vc. dolce div.

Cb. dolce

2 soli

229

Fl.

Ob.

1 2 Cl. in B

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4 1 2 Tpt. in C

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

2 (Dumbec, Low Drum)

(HARPSICHORD)

Synth.

Marie Antoinette: (silencing him)

Shhh! I’m listening

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

(Florestine pushes Léon back.)

Florestine 3

Not now, my pet.

Oh, where is Fi ga ro?

He said he’d be here.

(to Almaviva) Susanna: 3

Susanna

Lis ten to Fi ga ro.

Bé gearss is the trai tor!

Almaviva:

Léon 3

gain.

That man is a

saint.

Almaviva:

Almaviva 8

That trai tor!

1 stand

I Vn. II unis.

Va. unis.

Vc. unis.

Cb. *Conductor will give a left hand cue.

230

Fl.

Ob.

1 2 Cl. in B

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4

1 2 Tpt. in C

3 4 1.

1 2 Tbn.

3 Tba.

Timp.

1 = ca. 136–144 * S.D., muffled

Perc.

2 (Dumbec, Low Drum)

(HARPSICHORD)

Synth.

Harp

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

Florestine

I’ll

Bégearss: (to guards while walking)

nev er

mar ry him.

Bégearss 8

…but re mem ber, you

are fo

reign di plo mats…

Almaviva 3

That man is div. a3

I Vn.

div.

Va.

Vc.

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

saint.

Andmy daugh ter’s

fi an cé.

231

113 Fl.

Ob.

1 2 Cl. in B

1 2

Bn.

Cbn.

1 2 Hn. in F

cresc. poco a poco

dim. *

cresc. poco a poco

dim.

3 4

1 2 Tpt. in C

3 4 (1.)

1 2 Tbn.

(3.)

cresc. poco a poco

dim. *

cresc. poco a poco

dim.

3 Tba.

Timp.

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

Perc.

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

dim.

Synth.

Harp

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

(Léon hides again.)

Florestine Léon: (whispers)

Quick,

hide!

Léon 3

Say it a gain!

(continuing)

Bégearss 8

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

(div. a3)

I (sempre

Vn.

)

Va.

Vc.

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

dogs

and hold the Count in your jaws.

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

Ob.

1 2 Cl. in B

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4

1 2 Tpt. in C

3 4 (1.)

1 2 Tbn.

(3.)

3 Tba.

Timp.

1 (Crotales) (S.D.)

Perc.

B.D.

2 (Dumbec, Low Drum)

Synth.

Harp

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

(Bégearss approaches Almaviva.)

Page: (playing Crotale)

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

spoken Page

His excellency, the British Ambassador. Bégearss 8

Almaviva 3

Ah, Bé gearss, my friend. (div. a3)

I Vn.

unis.

div.

II dolce div.

Va. dolce div.

Vc. dolce div.

Cb. dolce

dear

friend.

233

114 1.

Fl.

1 3

rhieta sound

1 Ob.

rhieta sound

Dumbec, with cane beaters

Perc.

(The British Ambassador looks askance at the duo.)

Harp

moving ahead Fl.

1 Ob. 2

(Dumbec)

Perc.

(HARPSICHORD)

Synth.

Harp

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

moving ahead 1., solo, col legno

ord., non vib.

I Vn. II 1., sola, col legno

ord., non vib.

Va. div., non vib.

ord., non vib.

1 2 col legno

Vc. 3

2 soli, col legno 0

Cb.

ord., non vib.

234 rubato (1.)

Fl.

a tempo

quarter-tone lip vibrato

rit.

quarter-tone lip vibrato

ord.

1 2 quarter-tone lip vibrato

quarter-tone lip vibrato

ord.

1 Ob.

quarter-tone lip vibrato

ord.

(Dumbec)

Perc.

rubato

(solo)

a tempo

rit.

I Vn. II (sola)

Va. (div.)

1 2 Vc. 3 non vibrato

Cb.

115 (Dumbec)

Perc.

(HARPSICHORD)

Synth.

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

Backgrnd. Chatter Almaviva:

Almaviva 3

Too long, your ex cel len cy.

British Ambassador: (somewhat formally)

B. A.

How is your cou sin

and la

lice?

3 3

My dearAl ma vi va,

1., solo, with vibrato

I rich

Vn. II

1., sola, with vibrato

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

Vc. rich 2 soli, with vibrato

Cb. rich

has been a

long time.

We have so much

235 (Dumbec)

Perc.

Synth.

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

(looks at the English Ambassador)

clears throat

Almaviva 8

I…

have a

lit tle

gift

for you, sir.

Shall we…?

(to Rosina)

dolce

B. A. 3

news

to ex change. You willex cuse us,

dam.

And I,

for you.

(1., solo)

I Vn. II (1., sola)

pizz.

(1-3, div. a3)

pizz.

(2 soli)

pizz.

Va.

Vc.

Cb.

116 cue: Page playing Crotales

Perc.

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

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

Page Bégearss: spoken

Bégearss

Damn!

formally, after regaining his dignity)

Pasha:

Pasha

Sneeze!

cel

lent

ones!

O no

blegath

’ring!

(Looks at Almaviva)

B. A.

Shall we…?

Va.

Vc.

Cb.

Pasha

the sing

ing

ra,

tend!

The fra

grance

of jas

mine,

the warmth

the

sert,

the

139

281 = 96

Picc.

1 2

Fl.

*Rhieta sound 1. [A]

1 2

Ob.

*Rhieta sound [A] E.H.

Cl. in B

1 2

Bs. Cl.

1 2

Bn.

Cbn.

1 2 Hn. in F

3 4 *with straight mute 1. [A]

1 2 Tpt. in C

3 4 1 2 Tbn. 3 Tba.

Timp.

Perc.

2 Low Drum, Dumbec [A]

(COARSE OBOE)

Synth.

[A]

Harp

[A]

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

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

= 96

[A] 1 solo

I Vn. II [A] 1 sola

Va.

[A]

1 solo

Vc.

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

G D

282

140 Presto **

Picc.

Fl.

1 2

Ob.

1 2

(1.)

[B]

E.H.

1 2

Cl. in B

Bs. Cl. 1 2

Bn.

Cbn. 1 2 3 4

Hn. in F

(with straight mute)

(1.)

1 2

(with straight mute)

Tpt. in C

3 4 (with straight mute)

1 2 Tbn. 3 Tba. Timp. Tamb.

2 Perc.

(Dumbec)

3 (Low Drum) [B]

Synth.

Piano

[B]

Harp

(The pursuers and Figaro resume their chase.)

Chorus of Pursuers

Stop!

T 8

Presto 1 solo

[B]

I Vn. II 1 sola

Va.

le altre

1 solo

Vc. gli altri

Cb. *Repeat (AAB) for duration of extension line. (Strings through the end of Act I, Oboe and English Horn until 141, Percussion until 142.) **Do not synchronize the differing sections.

283 Picc.

Fl.

1 2

Ob.

1 2

(1.)

E.H. Cl. in B

1 2

Bs. Cl. a2

1 2

Bn.

Cbn.

1 3 Hn. in F

2 4 1 2 3 4

Tpt. in C

1 2 Tbn.

Tba. (open)

3 Tba.

Trg.

(Tamb.)

2 Perc.

(Dumbec)

3 (Low Drum)

Piano

Harp

Florestine

Go!

ga ro,

Go!

ga ro,

Go!

ga ro,

Go!

ga ro,

go!

ga ro!

go!

ga ro!

go!

ga ro!

go!

ga ro!

Rosina 3

Susanna

Léon

3 8

S Chorus of Pursuers

Stop,

ga ro!

Stop!

ga ro!

A Stop,

ga ro!

Stop,

ga ro!

Stop,

ga ro!

Stop!

ga ro!

Stop!

ga ro!

Stop!

ga ro!

T 8

B 3

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

arco

Va. le altre 3

Vc. solo pizz.

arco

Vc. gli altri pizz.

Cb.

284

141

Picc. 8va

Fl.

1 2

Ob.

1 2

8va

to Oboe

E.H. Cl. in B

1 2

Bs. Cl. a2

Bn.

1 2 to Bassoon

Cbn.

Hn. in F

Tbn. Tba.

1, 2

3, 4

2 4 3

Tpt. in C

1 3

1 2 3 4

1 2 (Tba.)

3 Xyl.

1 Trg.

(Tamb.)

Perc.

Tamb.

2 (Dumbec)

3 (Low Drum)

Piano

ad lib. shouts of encouragement

Florestine Fly!

Fi ga ro,

fly!

Fi ga ro, ad lib. shouts of encouragement

Rosina Fly!

Fi ga ro,

fly!

Fi ga ro, ad lib. shouts of encouragement

Susanna Fly!

Fi ga ro,

fly!

Fi ga ro, ad lib. shouts of encouragement

Léon Fly!

Fi ga ro,

fly!

Fi ga ro,

ad lib. shouts

S Chorus of Pursuers

No!

Stop, Fi ga ro!

No,

no,

Fi ga ro!

ad lib. shouts

A No!

No!

Stop, Fi ga ro!

No,

no,

Fi ga ro! ad lib. shouts

T 8

No!

Stop, Fi ga ro!

No,

no,

Fi ga ro! ad lib. shouts

B No!

No!

Stop, Fi ga ro!

No,

no,

Fi ga ro!

S Opera Ghosts

Dead.

A Bored.

T 8

Bored.

B Egg.

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

Vc. solo div.

Vc. gli altri 3

Cb.

Ghosts ad lib. comments: “Hurry Figaro!”, “Stop them!”, “Go, Figaro!”, etc.

arco

285

Fl.

1 2

Ob.

1 2

Cl. in B

1 2

Bs. Cl.

1 2 Bn.

Bassoon

3 1., open

2., 3., 4., con sord.

1 2 3 4

Tpt. in C

1., 2., open

open

1 2 Tbn. 3 Tba. (Dumbec, Low Drum)

Perc.

Piano

Harp

(Figaro finally runs to the side of

Woman with Hat: (outraged)

Woman w. Hat

This

not

ra!

(ad lib. shouts)

Others (ad lib. shouts)

Pursuers Three Chattering Women:

3 Chattering Women

Look at Fi ga ro… (laughter)

S 3

Look at Fi ga ro… (laughter)

A 3

Opera Ghosts

Look at Fi ga ro… (laughter) S

Rug. B 3

ta to.

Vn. I Solo Vn. I gli altri

Vn. II

Va. sola pizz., ord.

arco

Va. le altre

Vc. solo pizz.

arco

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

Cb.

arco

pizz.

286

molto rall.

142

a tempo

Picc.

Fl.

1 2

Ob.

1 2 3

Cl. in B

1 2

1., 2.

1. 3.

1. 2. 3.

(a2)

to Clarinet 3 in B

Clarinet 3

Bs. Cl.

1 2

Bn.

3 1 2 3 4 1 2 3 4

Hn in F Tpt. in C

1., 2.

1., 3.

3., 4. (a2)

2., 4. 1., 2.

(3. open)

1 2

Tbn.

Tba.

3 Tba. Timp. Xyl.

Trg.

1 Cast.

Perc.

2 (Dumbec and Low Drum)

Tamb.

3 3

Harp

the stage, past the potted palm to the balcony which overlooks the street. His friends hold back the pursuers.)

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

Marie Antoinette:

M.A.

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

Wag ner

ra!

Florestine

Go!

Fi ga ro, Go!

Go!

Fi ga ro, Go!

Go!

Fi ga ro, Go!

Go!

Fi ga ro, Go!

Fi ga ro.

Rosina 3

Fi ga ro.

Susanna

Léon 8

Fi ga ro. 3

Pasha:

Fi ga ro.

Pasha

Hay

Page: (playing Crotale) Page

ro!

(The Pasha signals his page to ring the bell (crotale) to get attention. He wants to restore order by bringing out the next act:)

Chorus of Pursuers

S 3

No!

Stop, Fi ga ro.

No!

Stop, Fi ga ro.

No!

Stop, Fi ga ro.

No!

Stop, Fi ga ro.

A 3

T 8

molto rall.

a tempo

Vn. I Solo 0

Vn. I gli altri Vn. II Va. sola

div., arco

Va. le altre Vc. solo unis.

Vc. gli altri div.

Cb.

unis.

pizz.

287

Picc.

marcato

Fl.

1 2

Ob.

1 2 3

Cl. in B

1 2

Bn.

3 3

1 2 3 4

Hn. in F

1., 3.

1. 3. 2.

2., 4.

brassy

1 2 Tbn.

Tba.

3 Tba. **

Timp. (Trg.)

1 (2.: Cast.)

Perc.

3.: Tamb.

2 3 3 8va

Piano

Florestine

Fly,

ro,

fly!

ga ro!

ro,

fly!

ga ro!

ro,

fly!

ga ro!

ro,

fly!

ga ro!

Rosina 3

Susanna

Léon

3 8

Figaro: (standing on balcony)

Figaro

I’m Pasha

ba ka lim

cek

(Crotale)

bas

sin.

Page

Chorus of Pursuers

No!

ro!

A 3

ro!

T 8

ro!

B 3

Vn. I Solo Vn. I gli altri

martelé

Vn. II

martelé

Va. sola Va. le altre Vc. solo *

Vc. gli altri 0

pizz.

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

arco

marc.

ro!

288

143

Picc. 8va

Fl.

1 2

Ob.

1 2 3

Cl. in B

1 2 3

Bn.

1 2 3

Hn. in F

1 2 3 4

1., 2.

3. 3

1. 2., 3.

1. 3. 2.

(open)

1 Tpt. in C

with straight mutes

2 3 4

with straight mute

1 Tbn.

molto

with straight mute molto

2 Tba. 3

Timp. Xyl.

1 Perc.

3: Tamb.

2: S.D.

3: Tamb.

2 3 3 8va

Piano

Harp

Woman w. Hat

This Florestine Rosina Susanna

is not Florestine, Rosina, Susanna:

pe ra!

Go!

Go,

ga ro!

Go!

Go,

ga ro!

Léon

3 8

Figaro

home!

I’m

home!

Pasha

(Crotale) Page

Chorus of Pursuers

Stop!

No!

Stop!

No!

Stop!

No!

Stop!

No!

T 8

Opera Ghosts

Dead! B

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

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

289

accel.* Picc. 8va

Fl.

1 2

Ob.

1 2 3

8va

1 2

Cl. in B

1 2 3 1 2

Bn.

Hn. in F

(4.)

3 4

Tpt. in C

2 3 4

1 Tbn.

molto

2 Tba. 3 Timp.

Xyl.

1 Perc.

3: (Tamb.)

2: S.D.

3: (Tamb.)

2: (S.D.)

3: (Tamb.)

2: (S.D.)

3: (Tamb.)

2 3 3

Synth. 8

Piano Harp Woman w. Hat This

Florestine Rosina Susanna

not

pe ra!

Go!

Léon 8

Figaro I’m

home!

I’m

home!

Pasha Page

Chorus of Pursuers

S A Stop,

ga ro!

Stop!

Stop,

ga ro!

Stop!

Stop,

ga ro!

Stop!

T 8

B S Opera Ghosts

Rug!

Dead!

A Bored!

Bored!

T 8

Bored!

B 3

S S A

Egg!

to!

accel.*

Vn. I Solo

3 Chattering Women: Look at

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

Vc. (non div.) 0

(

molto)

Cb. *Horns, Trumpets, Percussion, Harp, Solo Strings, Pasha, and Page keep at the same speed ignoring the accel. through the end.

ga ro!

290

(accel.) [BLACKOUT]

Picc. a2

Fl.

1 2

Ob.

1 2 3

3. 1., 2.

1 2 Cl. in B 3 1 2 3 1 2 3 4

Bn. Hn. in F

1. 3.

2. 4.

Tpt. in C

2 3 4 3

1 Tbn.

molto

2 Tba. 3

Timp. (Xyl.)

1 (S.D.)

Perc.

2 (Tamb.)

(omit if necessary)

B.D.

3 tutta forza (HORNS, TROMBONES)

Synth.

Piano

8ba

Harp

Woman w. Hat

Not

Florestine Rosina Susanna

pe ra!

Go!

Léon 8

(Figaro turns, then leaps off the balcony to freedom.)

Figaro

Chorus of Pursuers

Pasha Page (div.)

S A T B

Stop!

Opera Ghosts

S Dead!

Dead!

A Bored!

T 8

Bored!

B Egg!

Egg!

S S A

Look at

(accel.)

ga ro! [BLACKOUT]

Vn. I Solo Vn. I gli altri

Vn. II Va. sola Va. le altre

Vc. solo

Vc. increase number of bowings

Cb.