John Corigliano
THE GHOSTS OF VERSAILLES A Grand Opera Buffa in Two Acts Suggested by La Mère Coupable of Pierre-Augustin Caron de Beaumarchais
Libretto by William M. Hoffman Reduced Orchestration by John David Earnest FULL SCORE ACT I
From the G. Schirmer Rental Library Date of Printing ______________
G. Schirmer, Inc. New York, NY
John Corigliano
THE GHOSTS OF VERSAILLES A Grand Opera Buffa in Two Acts Suggested by La Mère Coupable of Pierre-Augustin Caron de Beaumarchais
Libretto by William M. Hoffman Reduced Orchestration by John David Earnest
th
originally commissioned by the Metropolitan Opera Company for its 100 anniversary this reduced orchestration was commissioned by Opera Theatre of Saint Louis for its Thirty-fourth Festival Season and made possible with a generous leadership gift from The Andrew W. Mellon Foundation With major support from the Susan and Elihu Rose Foundation, the National Endowment for the Arts, Mrs. Walter F. Brissenden, and the estate of Colin Graham. With special thanks to Centene Corporation, lead corporate sponsor.
G. Schirmer, Inc. New York, NY
CONTENTS
ACT I Prologue...........................................................................1 Scene 1.........................................................................142 Scene 2.........................................................................213 Scene 3.........................................................................220 Scene 4.........................................................................253 Scene 5.........................................................................269
SYNOPSIS The Ghosts of Versailles is set in Marie Antoinette’s private theater at Versailles in the present. The ghost of the playwright Beaumarchais, author of The Barber of Seville and The Marriage of Figaro, has fallen madly in love with the ghost of the executed Queen Marie Antoinette, who after two centuries still grieves for her lost life. Although Beaumarchais’ love is unrequited, he offers to cure the queen’s melancholy by means of a performance of his new opera, which has the power to change history. It features the latest exploits of Figaro and the Almaviva family, who attempt to save the queen from death in the French Revolution by effecting her escape from prison and transporting her to America. The other ghosts warn Beaumarchais that this will endanger his immortal soul, but he wishes only Marie Antoinette’s happiness. Through Beaumarchais’ willingness to sacrifice himself during a performance of his opera, Marie Antoinette realizes the depth of his love for her and learns to love him. Just as Beaumarchais is about to unsuccessfully save Marie Antoinette, she rejects “salvation” and allows history to continue as it was. The two are joined for eternity.
CHARACTERS (in order of appearance) Ghosts: WOMAN WITH HAT, elegant woman in her thirties.........................................Mezzo-soprano LOUIS XVI, slow, self-important, in his late thirties..............................................................Bass MARQUIS, Louis’s young confidant, a dandy......................................................................Tenor TRIO of GOSSIPS.................................................................................................................S.S.A JADED ARISTOCRATS AT THE OPERA.....................................................................S.A.T.B PIERRE-AUGUSTIN CARON de BEAUMARCHAIS, author of The Barber of Seville and The Marriage of Figaro, passionate, quick, middle-aged........Bass-baritone MARIE ANTOINETTE, soulfully beautiful, vulnerable, warm, yet willful, in her thirties.........................................................................Soprano Players in the Opera: FIGARO, Count Almaviva’s wily servant, middle-aged.....................................................Baritone SUSANNA, Figaro’s loyal but independent wife, middle-aged..........................................Soprano COUNT ALMAVIVA, a proud, stubborn Spanish aristocrat, middle-aged.........................Tenor ROSINA, his still-beautiful, grieving wife, in her forties....................................................Soprano LEON, Rosina’s son by Cherubino, about twenty..................................................................Tenor FLORESTINE, Almaviva’s daughter, about twenty..........................................Coloratura soprano PATRICK HONORE BEGEARSS, Almaviva’s treacherous friend, middle-aged................Tenor WILHELM, doltish young servant of Bégearss...........................................................Speaking part CHERUBINO, a former page of Almaviva, handsome, in his late teens.................Mezzo-soprano SULEYMAN PASHA, Turkish ambassador, heavy, bald, middle-aged or older......................Bass ENGLISH AMBASSADOR, distinguished older gentlemen............................................Baritone SAMIRA, sultry Egyptian singer...............................................................................Mezzo-soprano DUTCHESS, (living version of Woman with Hat).................................................Mezzo-soprano (sung by WOMAN WITH HAT) LIVING MARIE ANTOINETTE, careworn figure of David’s portrait, humbled by great suffering...................................................................................................Soprano (sung by ghost of MARIE ANTOINETTE) CHORUS...................................................................................................Eighteen or more singers
Others: pursuers of Figaro, Turkish duelists, page, dancing and harem girls, “rhieta” players, acrobats, revolutionary guards, revolutionary women, courtiers, dancers, prison guards, prisoners, soldiers.
to Anthony Holland, friend and collaborator
May memory restore again and again The smallest color of the smallest day: Time is the school in which we learn, Time is the fire in which we burn. –Delmore Schwartz
ACKNOWLEDGMENTS Special thanks to Osama A. Abusitta, John Atkins, Bob Campell, Colin Graham, Joel Honig, Sandy Kadet, El-azza M’Hammed, Ross MacLean, Michael Mace, James McCourt, Steven Mercurio, Darragh Park, Philip Ramey, Sheldon Shkolnik, Mark Thalenberg, Deniz Ulben Hughes, Kalman Ullmann, Jean-Claude van Itallie, Serapio Walton, and MaryAnn Wrobleski for their help and patience. I am grateful to the National Endowment for the Arts for a librettist grant and to the Circle Repertory Company for their support. Credit is due for the lines from “Calmly We Walk Through This April’s Day,” by Delmore Schwartz (from Selected Poems: Summer Knowledge. Copyright © 1959 by Delmore Schwartz. Reprinted by permission of New Directions Publishing Company).
PRODUCTION NOTE The basic premise of The Ghosts of Versailles is that a group of ghosts is watching an opera. Because of this structure, the opera takes place on three planes of reality: 1) The world of eternity, inhabited by ghosts 2) The world of the stage, populated by dramatic characters 3) The world of history, populated by mortals Our opera begins in the ghost world, which is the most fantastic and the most contemporary. It enters the stage world when spectral playwright Beaumarchais raises the curtain on A Figaro for Antonia, the buffa-within-the-opera that he has written to amuse Marie Antoinette two hundred years after their deaths. The ghostly characters watching the onstage production are fantasy creatures themselves. If the makeup or costumes of the onstage characters outdo those of the ghosts, or if the sets are too ambiguous or surrealistic, it will be difficult for the audience to distinguish among the worlds. Therefore, the production on the stage-within-a-stage should almost always be more realistic than the ghost world. The ghost and the stage worlds are distinct until the second scene of Act II, when Beaumarchais enters the opera-within-the -opera and Figaro is summoned by Marie Antoinette to the afterworld. At the point the two worlds blend and we enter a third realm: the historical (or objective) universe of the Paris streets, the Almaviva ballroom, and the Place de la Révolution. The scenic design of this last world should be grand operatic: representational sets, realistic costumes. The Ghosts of Versailles represents a journey from the most fantastic to the most realistic. In the last scene, however, all three planes are juxtaposed: the historical Marie Antoinette is executed in the Place de la Révolution, the cast of A Figaro for Antonia makes their escape to London in a balloon, and the ghosts of the queen and Beaumarchais walk off together into the land of eternal delight — the gardens of Aguas Frescas. — W.M.H.
Instrumentation 2 Flutes (both doubling Piccolo) 2 Oboes (2nd doubling English Horn) 2 Clarinets in B= (1st doubling Clarinet in A, 2nd doubling Clarinets in A, E=, and Bass Clarinet) 2 Bassoons (2nd doubling Contrabassoon) 2 Horns in F 2 Trumpets in C 2 Trombones Timpani (also plays Tambourine, Large Tamtam, Roto-tom, Bass Drum, Ratchet) Percussion (3 players) 1. Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone (bow needed), Triangle, Xylophone, W ind Machine 2. Bass Drum, Crotales, Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, Triangle, Xylophone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, W ood Blocks, Anvil, Chimes, Lion’s Roar, Slapstick, Thunder Sheet 3. Bass Drum, Crotales (bow needed), Glockenspiel, Ratchet, Snare Drum, Suspended Cymbal, Tambourine, Vibraphone, 3 Tom-toms, Bell Tree, Castanets, Temple Blocks, Tenor Drum, W ood Blocks, 2 Dumbec drums, Crash Cymbals, Large Bass Drum, Low Drum, Low Gong, Small Tamtam
Synthesizer Piano/Celesta Harp Strings (6.6.4.4.3 players)
This reduced orchestra version of The Ghosts of Versailles was prepared by John David Earnest, with the composer’s and publisher’s approval, on commission from the Opera Theatre of St. Louis in 2008. The world premiere of the reduced orchestra version was given on 17 June 2009, Michael Christie, conductor
Marie Antoinette..............................Maria Kanyova Louis XVI.............................................Kevin Glavin Beaumarchais...................................James Westman Figaro.........................................Christopher Feigum Rosina................................................Hanan Alattar Bégearss......................................Matthew DiBattista Samira.............................................Elizabeth Batton
Stage Director...................................James Robinson Set Designer...........................................Allen Moyer Costume Designer..............................James Schuette Video Designer...........................Wendall Harrington Lighting Designer....................................Paul Palazzo
ACT I TIME: The present and the autumn of 1793 PLACE: Marie Antoinette’s theater in the Petit Trianon, Versailles The curtain rises, revealing a vast expanse of almost empty stage dimly lit and painted a friendly, glowing off-white. We see randomly placed pieces of Marie Antoinette’s intimate private theater at the Petit Trianon in Versailles: a pillar or two, a chair, a box, the front curtain. After a few measures of music, the theater will slowly assemble itself before our eyes. The beginning of the Prologue is also marked by the slow descent (from above the proscenium arch to the floor of the stage) of an elegant woman seated in a comfortable fauteuil. She is wearing an extremely large dress and vast hat depicting peace and plenty in land of France. She sings words (by Beaumarchais) to the tune of Marlborough s’en va-t-en guerre, (For He’s a Jolly Good Fellow). The following five sections of the Prologue—the descent of the Woman with hat, the card game between Louis XVI and the Marquis, and the quartet of bored ghosts in the opera box—form a collage of events that start, stop, overlap, and intertwine.
to Francis Goelet
THE GHOSTS OF VERSAILLES A Grand Opera Buffa in Two Acts (Reduced Orchestration)
William M. Hoffman *
John Corigliano
ACT I
Slowly
Prologue
ca. 5 seconds
1 Flute (Piccolo)
2
1 Oboe (English Horn)
to English Horn
2
1 Clarinet in B
to Bass Clarinet
(Bass Clarinet) (Clarinet in E ) 2
1 Bassoon (Contrabassoon) 2
1 Horn in F 2 take harmon mute
with harmon mute
take harmon mute
with harmon mute
1 Trumpet in C 2
1 Trombone 2 Timpani bend
Vibraphone, bowed
****alternate notes
1 Pedal
Percussion
2 Crotales, bowed
****alternate notes
3 (echo)
(white sound)
Synthesizer
Piano (Celesta)
Harp
*
Slowly
1 solo gliss.
div., con sord.
div. a3
*** sul pont.
**
ca. 5 seconds
I Violin
div., con sord.
gliss.
div. a3 **
*** sul pont.
II
Viola
Violoncello
Contrabass * Triangles with numbers within mean free cue beats. The number denotes the number of beats (cues) in the measure. Dotted barlines indicate secondary cues. ** Divide evenly between 1st and 2nd Violins (ie: 6 pitches, 12 players = 2 players per pitch.) *** Free, chromatic, squiggly runs following shape of lines. **** Percussionists prepare note in parenthesis but do not play on downbeat.
Score in C Corrected 8/2009
Copyright Š 1991 by G. Schirmer, Inc. (ASCAP), New York, NY This version copyright Š 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal Law and subject to criminal prosecution.
Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY
2
1 = ca. 40–48
**
*
Picc. *
Fl.
**
1
1 Ob. 2 *
Cl. in B
**
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
l.v.
**
1 Glockenspiel, with soft sticks *
Perc.
**
2 (Crot.)
l.v.
3 (WHITE SOUND) **
Synth.
sempre
Celesta *
**
Cel.
Harp
Woman with Hat: slow, dream-like (asynchronous with orchestra)
W. w/ H.
Mon
= ca. 40–48
cour
sier
solo, senza sord. *
**
Vn. I solo
Vn.
Vn.
div. a2 (con sord.)
slow gliss.
metà
slow gliss.
I
II sola 8va *
**
Va.
Vc.
Cb. *Following conductor, finger line of eighth notes, but do not play. Occasionally produce sound beginning niente, make slight crescendi and diminuendi, back to niente, through the passage, sempre legatissimo. **Continue in tempo (4/4) without conductor. Keep tempo steady. Slight misalignments may occur, but this phasing is not objectionable.
3 **
Picc.
Fl.
1
Ob.
1
**
*
E.H.
Cl. in B
1 *
Bs. Cl. **
Bn.
1 *
Cbn. *
**
1 Hn. in F
*
2 *
**
1 Tpt. in C
*
2 fltg.
**
1 Tbn.
*
2
Timp. (Vib.)
1 Glock.
Perc.
**
2 Crot. **
3
Synth.
Cel.
**
Harp
W. w/ H. hors
d’ha
lei
ne,
(Que
m o n coeur,
mon
coeur
a
d e pei
ne!)
(solo)
Vn. I solo div. a3
Vn. I gli altri tutti, div. a3
Vn. II (solo) 8
Va. sola div., con sord.
Va. le altre ** solo, con sord., sul pont.
Vc. solo div. a3, con sord. 1 2
Vc. gli altri
3
Cb. solo div. a2
Cb. gli altri *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente. **Play figure at approximate position in cue.
1, solo, con sord., col legno ** 0
4 5 seconds Picc.
Fl.
1 filagreed, free
Ob.
1 filagreed, free
E.H.
Cl. in B
1 filagreed, free
Bs. Cl.
Bn.
1 filagreed, free
Cbn.
1 Hn. in F 2 take whispa mute
1
Tpt. in C
2
1 Tbn. 2
Timp.
1 (Glock.)
Perc.
2 (Crot.)
3
Synth.
to Piano
Cel.
Harp
W. w/ H. Jer rais
d e plain
e
e n plain
e,
Au
grĂŠ
du
de
stri
er.
A u grĂŠ d u sul pont.
5 seconds
(trem.)
Vn. I solo
sul pont. (trem)
div.
Vn. I gli altri sul pont. (trem.)
div.
Vn. II
Va. sola Va. gli altre Vc. solo (div.)
Vc. gli altri
Cb. solo (div.)
Cb. gli altri
unis.
5
2 = ca. 40–48
*
Picc. **
Fl.
1
Ob.
1
E.H.
Cl. in B
**
*
1
Bs. Cl. *
Bn.
1
Cbn.
1 Hn. in F 2 ** with whispa mute
1 Tpt. in C 2
1 Tbn. 2
Timp. Vib. **
1 Pedal
Perc.
2
3 (WHITE SOUND)
sempre
Synth.
**
Piano
**
Harp
W. w/ H. de
stri
er,
Sans var
let, n’é
cu
yer.
Là
près
= ca. 40–48
ord. (div.)
d’une
fon
taine,
(Que
mon
coeur,
mon
coeur
solo **
I Vn.
ord. (div.)
II
div. a3
Va. div. a3
Vc. metà (sounds 8ba)
Cb. *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente. **Finger line of eighth notes, but do not play. Occasionally each player enters independently ad lib., slow, legatissimo crescendo and diminuendo. Continue as before.
a
de
pein
6 = 60 Picc.
Fl.
1
Ob.
1
E.H.
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
1
Perc.
2
3
Synth.
Piano
Harp
W. w/ H. e!)
Son
geant
Ă
ma
Marr
aine.
Sen
tais m e s pleurs cou ler.
= 60 Vn. I solo div.
Vn. I 2-3
div. a3
Vn. I 4-6 div.
Vn. II 1-2 div. a3
Vn. II 3-6
3
4 5-6
(1 stand)
Va.
(Chomatic cluster) tutte, div., div. a4 div. a3 non vib. 1 2 3-4 liquid.
Vc.
Cb.
7
3 Picc.
Fl.
1
Ob.
1
E.H.
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F
(open)
2
1 Tpt. in C 2 (open)
1 Tbn.
(open)
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
W. w/ H.
Marquis:
slow, free
Marquis 8
(Playing cards with Marquis) slow, free
The Queen
Louis XVI: Louis
My glass.Thank you,
(4., 3.)
my
friend.
I Vn.
(1., solo)
II (gliss.)
Va. via sord.
Vc.
Cb.
div. a3, senza sord.
lan guish es in
des pair, your Ma jes ty.
8
Picc. *
Fl.
1
Ob.
1
*
E.H.
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn. with straight mute
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
1 Glock.
Pedal
Perc.
2 Crotales
3
Synth.
8va
8va
Piano
Harp
W. w/ H. 3
() ()
Marquis 8
Hope less, a fraid, (1. solo)
Vn. I
1 2
Vn. I
3
she clings to the past. div.
Vn. I 4-6 div. a3
Vn. II 1-3 div. a3
Vn. II 4-6 1 stand
Va. 1 solo, sul pont.
Vc. 1 solo, col legno (con sord.)
0
Cb. *Finger note, but do not play. At approximate position in cue, play pitch. Slowly crescendo from niente to pianissimo and diminuendo back to niente.
9
Picc.
= ca. 40 Fl.
1 cold
Ob.
1 to Oboe
E.H. Cl. in B
1 to Clarinet in E
Bs. Cl.
Bn.
1 to Bassoon
Cbn. with straight mute
1 with straight mute
Hn. in F 2
take harmon mute
1 Tpt. in C
take harmon mute
2 with straight mute
1 with straight mute
Tbn. 2
Timp.
1
Perc.
2
3
Harp
W. w/ H.
Marquis 8
But will he
3
Louis
A com mon er
()
slow gliss.
slow gliss.
4-6
()
1-3
()
4-6
()
1-3
Vn. I
Vn. II
slow gliss.
is court ing
her.
2 soli
slow gliss.
2 soli 2 sole
slow gliss. 1-2
Va.
2 sole 3-4
2 soli, con sord. 1-2
Vc.
2 soli, con sord. 3-4 2 soli 1-2
Cb.
1 solo 3
have
her?
10
4 Subito
= 144
Picc. (continue in same tempo)
Fl.
1
1 Ob. 2
Cl. in B
1
Cl. in E *
1 *
Bn.
legato
2 legato
*
1 Hn. in F
legato *
2 legato
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3 *
Synth.
(bns., hns.)
Harp
W. w/ H.
Trio of Gossips
S1
S2
He’s
in
love,
he’s in
love, he’s in
love!
A (furiously throwing down cards)
Beau mar chais’s
Louis
I don’t care! Let him
have
her!
Let him
have
her!
Subito
I don’t care!
= 144
2 soli (div.)**
I Vn. (solo)
II (sola)
Va. (solo)
Vc. (solo)
Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales. **Play as fast as possible. Do not synchronize.
11
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1
Cl. in E
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
(Three elegantly dressed women skitter in from the back like insects. The first carries a parasol. The others wear under flouncy dresses. They are mindlessly gossiping and find each other hilarious.)
Harp
secco
Trio of Gossips
S1
He’s
in
love with
Ma
rie
An
toi
nette.
S2
A
in
love.
(2 soli)
Vn. I 2 soli senza sord., sul pont. *
Vn. I gli altri as fast as possible, asynchronous (1 solo)
* tutti, senza sord., sul pont.
Vn. II tutti, senza sord., sul pont. *
(1 sola)
Va.
(1 solo)
tutti, senza sord., sul pont.
as fast as possible, asynchronous
*
Vc. (1 solo)
as fast as possible, asynchronous * tutti, senza sord., sul pont.
Cb. *Play as fast as possible. Do not synchronize.
as fast as possible, asynchronous
as fast as possible, asynchronous
12
Picc.
Fl.
1 *
1
Ob.
*
2
*
Cl. in B
1
*
Cl. in E a2
Bn.
1 2
1 Hn. in F 2
with harmon mute
1 Tpt. in C
with harmon mute
2
Tbn.
1 2
Xyl.
*
1
Perc.
Bell Tree
3
Synth.
(bns.)
*
Piano
*
*
Harp
laughter
(sarcastically)
Trio of Gossips
S1
The Queen laughter
is
sad.
is
sad.
She longs
for
death.
She longs
for
death.
(sarcastically)
S2
The Queen
(sarcastically)
laughter
A
Sad. ord.
gli altri 2 soli
tutti
**
I Vn.
ord. **
II ord.
div.
Va. ord.
Vc. ord.
Cb. *Play as fast as possible. Do not synchronize. **Cut off at full sound.
metĂ
13 *
Picc.
*
Fl.
1 a2
Ob.
1 2
Cl. in B
1
Cl. in E (a2)
Bn.
1 2 **
1 Hn. in F **
2 **
1 (with harmon mute)
Tpt. in C 2 (with straight mute)
1 Tbn.
(with straight mute)
2
Timp. Xyl.
Suspended Cymbal
1 Temple Blocks
Slap Stick
Perc.
**
2 Tambourine
3
Synth.
8va
Piano
Trio of Gossips
S1
She’s been dead for two hun dred
years!
She’s been dead for two hun dred
years!
She’s been dead for two hun dred
years!
(laughter)
S2 (laughter)
A
Death. 8va
I Vn. II (div.)
Va.
Vc.
Cb. *Overblow to articulate harmonics. Shape of passage should resemble line above. **Play as fast as possible. Do not synchronize.
(laughter)
14
5 Picc.
Fl.
1
1 Ob. 2
Cl. in B
1
Cl. in E
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
(woodwinds)
Harp
Trio of Gossips
S1
She seeks
so
lace.
She longs
for
She longs
for
S2
She
will
not
rest.
A Marquis: (slow, as before)
She re grets
her
past.
Marquis 8
sul * pont.
The
Queen
I sul pont.*
Vn. II
unis., sul pont. *
Va.
Vc.
Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.
She
can’t
find
peace.
15
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1
Cl. in E *
1 Bn.
*
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 Tamb.
Perc.
2 Snare Drum
r.s.
Small Tamtam
3
Synth.
Harp
Trio of Gossips
S1
death.
She’s been dead
for two hun dred
years!
death.
She’s been dead
for two hun dred
years!
She’s been dead
for two hun dred
years!
S2
A
Death. Marquis 8
lan
quish
es
in
I Vn. II sul pont.
Va. tutti, sul pont.
Vc.
sul pont.
Cb. *Play as fast as possible. Do not synchronize.
16 **
Fl.
1
Ob.
1 2
Cl. in B
1
a2
Cl. in E a2
Bn.
1 2 1
Hn. in F 2
1 Tpt. in C
*
2
1 Tbn. 2 Xyl.
1
(Sus. Cym.)
Perc.
Bell Tree
2 (Tam.)
l.v.
Sus. Cym.
3
Synth.
(flutes)
to Celesta
Piano
(chromatic)
Harp
Marquis 8
des
pair,
Trio of Gossips
S1 (laughter)
S2 (laughter)
He’s
A (laughter)
sul pont.
I Vn.
sul pont.
II 2 soli, div., ord. (2nd stand)
Va. 2 soli, div., ord.
Vc.
Cb. *Play as fast as possible. Do not synchronize. **Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.
in
17
6 Picc.
Fl.
1
1 Ob. 2
Cl. in B
1 to Bass Clarinet
Cl. in E
1 Bn.
to Contrabassoon
2
1 Hn. in F 2 take whispa mute
1 Tpt. in C
take straight mute
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
Trio of Gossips
S1
He’s in
love with Ma
rie
An toin
ette.
S2
love,
he’s
in
love, he’s
in
love!
He’s in
A
Beau mar
chais’s
in
love
Marquis 8
your 2 soli, div., ord. (2nd stand)*
Ma
jes
continue ad lib.
I continue ad lib.
Vn.
2 soli, div., ord.*
continue ad lib.
II continue ad lib. (2 sole)
Va. sempre (2 soli)
Vc. sempre
Cb. *Ad lib. crescendo and diminuendo, asynchronous with other solo violins.
18
7 = ca. 40–48 *
Picc. *
Fl.
1
1 Ob. 2 *
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2 with whispa mute
*
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 *
Perc.
Glock, with soft sticks, l.v. sempre
2
3 (WHITE SOUND)
Synth.
sempre
Celesta
*
Celesta
exit and slow fade
dim.
exit and slow fade
dim.
exit and slow fade
dim.
Trio of Gossips
S1
S2
A
Marquis 8
ty.
Louis:
Louis
I
don’t care.
I
don’t care.
= ca. 40–48
don’t
care.
1 solo *
I gli altri
Vn. II 1 sola *
Va. gle altre
Vc.
Cb. *Following conductor, finger line of eighth notes, but do not play. Occasionally produce sound beginning niente, make slight crescendi and diminuendi, back to niente, through the passage.
19
Picc.
Fl.
1
Ob.
1 2
Cl. in B
1
Bs. Cl.
Bn.
1
Hn. in F
1 2
1 Tpt. in C 2
Tbn.
1 2 Vib.
1 (Glock.)
Perc.
2
3
Synth.
Celesta
Harp
Woman with Hat
as before
W. w/ H.
Mon
cour
sier
S Opera Quartet
3
An oth er eve ning A
T 8
B
Louis
don’t
Vn. solo
Vn. I gli altri
Vn. II
1 2
Vn. II
3 4 5 6
div.
Va. sola div.
Va. gle altre
Vc.
Cb. *Continue as before—ad lib. entrances, crescendo via niente and diminuendo al niente.
at the o
pe
ra.
20 *
= ca. 40–48
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2 (Vib.)
1 (Glock.)
Perc.
2
3
Synth.
Celesta
W. w/ H.
S
Opera Quartet
**
3:4
A
I’m
so
bored. 3:4
**
T 3:4
8
I’m
so
bored.
Bored
B 3
* (1 solo)
Per haps Beau mar chais can a muse us.
= ca. 40–48
I (3-6, div. a2
Vn.
(1-2)
II (1-2)
Va. solo
Va. gle altre div. a3
Vc. div.
Cb. *Conductor beats the following measures in the tempo of the Synthesizer. **Notes within can be rhythmically flexible.
3
as a
21
Picc.
Fl.
1 * a2
Ob.
1 2
Cl. in B
1 Bass Clarinet
Bs. Cl.
Bn.
1 Contrabassoon
Cbn.
1 Hn. in F 2
1 Tpt. in C
with straight mute
2 (with straight mute)
1 (with straight mute)
Tbn. 2 (Vib.)
1 Perc.
(Glock.)
2
Synth.
Celesta
Three Chattering Women: (racing blurs on high back level)
Allegro
Trio of Gossips
S1
S2
He’s in S3 sweetly
secco
S
Opera Quartet
Well,
3
I know you can’t.
I loathe
3:4
you.
A 3
Bored
as
an
egg.
T 8
3:4
rug.
Bored
as
B 3
(1 solo)
Oh, Lu cienne
3
how you bore
me.
Vn. I solo 4 soli, div.
Vn. I gli altri (1-2)
Vn. II (1 sola)
Va.
Vc.
Cb. *Play legato as fast as possible between and including the given pitches. Avoid repeated patterns and scales.
a
po
22
8 Picc.
Fl.
1
Ob.
1 2
Cl. in B
1
2. to English Horn
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C
remove mute
open
2 remove mute
open
remove mute
open
1 Tbn. 2 (Vib.)
1 2
Perc.
(Glock.)
3
Synth.
Celesta
Trio of Gossips
S1
He’s in love with Ma rie An toi nette S2
love.
He’s in love. He’s in love.
A
Beau mar chais’s in
love.
S 3:4
Opera Quartet
I’m
so
bored.
A
rug
Oh,
T 8
3:4
ta to.
Egg.
I’m
so
bored.
B 3:4
I’m
so
Vn. I solo (4 soli)
Vn. I gli altri tutti, div., con sord.
Vn. II (sola)
Va. le altre, div., con sord. div., con sord.
Vc.
Cb.
bored.
3:2
I’m
so
bored.
23
9 (continue in tempo, following Synthesizer)
Picc. (continue in tempo, following Synthesizer)
Fl.
1
Ob.
1 2 (continue in tempo, following Synthesizer)
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
Hn. in F
1 2 (continue in tempo, following Synthesizer)
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
(continue in tempo, following Synthesizer)
(Glock.)
(continue in tempo, following Synthesizer)
1
Perc.
2
3 (continue in tempo)
Synth.
(continue in tempo, following Synthesizer)
Celesta
(Tempo as before)
Marquis 8
The Queen *
Bored.
Bored.
Opera Quartet
*
A
So
bored.
Bored. *
T 8
Bored.
Bored.
Bored.
Bored.
*
B
Bored. (solo)
Bored. (continue in tempo, following Synthesizer)
I Vn.
unis.
II (sola)
in
des pair,
Your Ma jes ty.
Alternate octaves, dynamics, and add yawns ad lib. on “Bored” producing a kind of tremolo.
S
Bored.
lan guish es
(continue in tempo, following Synthesizer)
Va. le altre, div., senza sord. div., senza sord.
Vc. senza sord.
Cb. *Continue in same tempo. Occasionally alter octave ranges of passage, ad lib. After several repeats, ad lib “yawns” with hand over mouth.
24
Picc.
Fl.
1
Ob.
1 English Horn
E.H.
Cl. in B
1
Bs. Cl.
Bn.
1
Cbn.
1 Hn. in F 2
1
Tpt. in C
2
1 Tbn. 2 (Vib.)
1 (Glock.)
Perc.
2 (Crot.)
3
Synth.
Celesta
Harp
(original tempo)
(repeat as before, ad lib.)
W. w/ H.
Au
gré
Marquis 8
Hope less, a
fraid,
3
she clings to the past.
Louis Opera Quartet
I don’t care. I don’t care. S A T B (solo)
tutti, div.
I Vn. II
(1 sola)
Va. (gle altre, div.) (div.)
1 solo
Vc. 1 solo, col legno
Cb.
du
de
stri
er,
25
Picc.
Fl.
1 O
(stagger breathing)
O
(stagger breathing)
1 Ob.
to Oboe
Oboe
2
1 Cl. in B
to Clarinet in B
Clarinet in B
(stagger breathing)
2 (stagger breathing)
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
Synth.
Harp
W. w/ H.
Marquis 8
But
will
he
have
Louis 3
Trio of Gossips
A
com mon er is court ing Three Chattering Women:(racing in and out of view)
her. (
= 144)
He’s
in
love.
He’s
in love.
He’s
in
love
Opera Quartet
Beau S A T B (div.)
I Vn.
(div.)
II div.
Va. div.
Vc. tutti
Cb.
unis., sul pont.
mar
chais’s
in
26
10 as before
Picc. as before
Fl.
1
Ob.
1 2 as before
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 with whispa mute, as before
1 Tpt. in C 2
1 2
Tbn.
as before Vib. l.v., sempre
1 Pedal
Perc.
Glock. l.v., sempre as before
2 (WHITE NOISE)
(WILD RUMBLE)
sempre
Synth.
gliss.
l.v. sempre
Celesta
(light appears upstage in the distance)
W. w/ H. (ad lib.)
Marquis 8
her?
(getting angrier and more petulant.)
But will he
have
her?
Louis
Trio of Gossips
I don’t care.
He’s in love with Ma rie An toin
I don’t care.
Don’t!
No!
Don’t care!
ette.
He’s in
Opera Quartet
love. S A T B gli altri
I 1 solo, as before (div.)
Vn.
*
II (as before)
Va. sola (div.)
*
(div.)
*
Va. gle altre
Vc. *
Cb. *One player at a time, change to next note. Do not synchronize. Complete change before end of cue.
ca. 5 sec.
27
Picc. molto
Fl.
1
Ob.
1 2
8va
molto
a2
molto
1 Cl. in B
molto
2 a2
molto
1 2
Bn.
molto
*
1 Hn. in F
molto
*
2
*
accel.
molto
1 Tpt. in C
accel.
*
2
accel. *
1 Tbn.
accel.
*
2
Timp. (Vib.)
Sus. Cym.
1 (Glock.)
Perc.
molto
2 cresc. Crot.
3 cresc. (WHITE SOUND) 8va
** (gliss.)
Synth.
to Piano
Celesta
(singers notice the light)
(the light grows and sparkles)
W. w/ H. Marquis 8
Louis
Opera Quartet
S1 Trio of S2 Gossips A
S A T B ca. 5 sec. ca. 2 sec.
(1 solo) tutti, div. a4, ord.
I gli altri
Vn.
(div.)
tutti, div. a3, ord.
molto
tutte, div. a4, ord.
molto
tutti, div. a3, ord.
molto
II (1 sola)
Va. le altre (div.)
Vc. molto
Cb. *Irregular pulses, getting louder little by little.
molto
28
11
In tempo = 82–84
= 82–84 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 take straight mute
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3 8va
Synth.
Piano
(Continue in exact tempo. Do not align with voice.)
*
secco
Piano
( B C D E F G A
Harp
Beaumarchais:
) secco, brittle
*
con rubato (ignore accompaniment)
jaunty
Beau.
All
pow er ful Queen of Beau
= 82–84 al sord.
I Vn.
al sord.
II al sord.
Va.
Vc.
Cb. *Conductor: Place harp chords in between piano chords in the same tempo.
ty
and rul er
of
my will ing
heart.
In tempo = 82–84
29
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Continue in tempo. Do not align with voice.)
(
C
) D
M.A. in tempo again
con rubato
Beau.
To make you
I Vn. II
Va.
Vc.
Cb.
smile
is
my
du
ty.
To
make
you laugh
is
all
my
30 = 82–84
12
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
with fingernails
C F
brittle
Harp
free Marie Antoinette:
M.A.
Is there no
es cape
from you, Beau mar chais?
Why do
you
per
se
cute me
with
your
love?
Beau.
art.
= 82–84
div. a4, con sord.
I Vn.
div. a4, con sord.
II div. a3, con sord.
Va.
Vc.
Cb.
31
13 A tempo
= 82–84
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
M.A.
I Beau.
A tempo (div. a4)
I Vn.
(div. a4)
II (div. a3)
Va. unis., pizz.
Vc. pizz.
Cb.
= 82–84
no
long
er
long
to
love.
Leave me
in
peace,
Beau mar
chais.
32
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
slower
M.A.
As col or fades from flow ers,
feel ing leaves the soul. slower, free
= ca. 60 dolce
Beau.
O
I Vn.
*
II *
Va.
Vc.
Cb. *Lyrical, expressive, slower gliss.
ri
on,
O
33
14
ARIA Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C
take straight mute
2 take straight mute
1 Tbn.
take straight mute
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
quasi recit.
M.A.
They
are
Beau. 3
ri
on,
E
ven
the
moon
moves
And
is
laced gent
ly
by
leaves. div. a6
I unis., non vib.
Vn. II
div. a4
Va.
Vc.
Cb.
al
ways
34 non vib.
stagger breathing
icy non vib.
stagger breathing
icy non vib.
stagger breathing
icy non vib.
stagger breathing
icy non vib.
stagger breathing
icy non vib.
stagger breathing
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2 icy non vib.
stagger breathing
1 icy non vib.
Bn.
stagger breathing
2 icy cuivrĂŠ
1 Hn. in F
cuivrĂŠ
2 with straight mute
1 Tpt. in C
with straight mute
2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2 B.D.
3 (woodwinds) non vib.
(muted brass)
icy
Synth.
Piano
Harp
M.A.
with
me:
The unbounded wait ing,
(half-tone cluster, one player per note)
I Vn. II
Va. div.
Vc. secco div.
Cb. secco
The o
dor of
blood
on
steel.
35 to Flute
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 unstopped
1 Hn. in F
unstopped
2 (with straight mute)
remove mute
1 Tpt. in C
remove mute
2
remove mute
1 Tbn.
remove mute
2
Timp.
1
Perc.
2 B.D.
3
(violins)
Synth.
Piano
B C D E F G A
Harp
M.A.
The
ter
ri
ble
sound.
They
are
al
ways
with
me. half-step cluster
div. a6
I Vn.
div. a6
II
Va. (div.)
Vc. (div.)
Cb.
half-step cluster
36
1 Fl. 2
1
Ob. 2
1 Cl. in B 2
1 legato
Bn. 2
legato
1 Hn. in F
legato
2 open
legato
1 Tpt. in C 2 open
1 Tbn.
open
2
Timp. Xyl.
1
Perc.
2
3
(strings)
Synth.
Piano
E
Harp
M.A.
My cry ing child
ren,
The
crowds push
ing,
Sev ered
on **
(div. a6) via sord.
I Vn.
heads
** senza sord. ( )
(div. a6) via sord.
II via sord.
** div. a4, senza sord. (
)
Va. * div. a4 ** ( )
Vc. non div.
Cb. 0
*If more than four players are available, fill in A and B in middle of Vc. chord, and B and C in middle of Va. chord. ** Rapid, non-synchronized bows.
senza sord. ( )
pikes,
37 **
1 dolce Flute
Fl.
**
2 *
1 Ob.
*
2 **
1 Cl. in B
**
2
1 Bn. 2
1 Hn. in F 2 *
sim.
1 Tpt. in C
*
open
sim.
2
1 Tbn. 2
Timp. *
(Xyl.)
1 Glock.
Perc.
l.v.
2
3
Synth.
l.v.
8va
Piano
l.v.
Harp
M.A.
Ah
Ah
Ah
Lord,
let
I Vn. II
Va. pizz.
Vc.
Cb. *Play fast, irregular attacks—like fast Morse code. **Play legato as fast as possible between the highest note possible and a diminished 5th below. Vary patterns, use all chromatic tones, do not synchronize.
me
for
get!
38
15 1
Fl.
*
2
1 Ob. 2 *
1 Cl. in B
*
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Vib.*
1 Pedal
Perc.
2
3
Synth.
Piano
Harp
simply, poco rubato
M.A.
Once
there was
a
gold en bird
I Vn. II
Va.
Vc. (actual pitch)
Cb. *Slow, legatatissimo, asynchronous pulses with barely audible attacks. Keep the sound going.
In
a
gar den of
sil ver trees.
From
the court yard
39 = 60 1 3
Fl. 2
1 dolce
Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
1
Perc.
2
3
Synth.
Piano
Harp
M.A.
could be heard
The
laugh
ter
of
wom en
at
their
ease.
= 60 I Vn. II
Va.
Vc.
Cb.
dolce
3
40 (continue in same tempo)
non vib.
1 icy non vib.
Fl. 2
icy non vib.
(continue in same tempo)
1 icy non vib.
Ob. 2
icy non vib.
1 Cl. in B
icy non vib.
2 icy non vib.
1 icy non vib.
Bn. 2
icy
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
1
Perc.
2
3
(woodwinds) non vib.
icy
Synth.
Piano
Harp
cresc.
M.A.
They
are
div. a6
(half-step cluster)
div. a6
(half-step cluster)
al
ways
with
me:
I Vn. II div. a2
Va.
Vc.
Cb.
molto
41
1 Fl. 2
1 Ob. 2
Cl. in B
1 2
Bn.
1 2 solo, slow oscillations
(+) 1 Hn. in F 2
1 Tpt. in C 2 take straight mute
with straight mute
1 Tbn.
nasty
molto
2
Timp.
1 5 Temple Blocks
Perc.
2 B.D.
3
Piano
1/2-tone cluster
8ba
8ba
M.A.
The break ing
win
dows;
(s)
The
throngs push ing, (sul pont.)
*
Vn. I (sul pont.)
*
(sul pont.)
*
Vn. II *
*
Va.
*
*
(sul pont.)
(sul pont.)
(sul pont.)
(sul pont.)
Vc. *
*
Cb. *
*Sul ponticello, non legato.
(sul pont.)
(sul pont.)
(sul pont.)
42
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 open
1 Tbn. 2
Timp.
1
Perc.
2
3
(brass)
Synth.
Piano
Harp
3
M.A.
Hawk
ing
sou
ven
iers,
Stuff
ing
food
in
to
jeer
ing
mouths that
foam
with
wine;
sul ponticello al
ord.
sul ponticello al
ord.
sul ponticello al
ord.
sul ponticello al
ord.
sul ponticello al
ord.
I Vn. II
Va.
Vc.
Cb.
43
16 = 60 1 Fl. 2
Ob.
1 2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F 2 take harmon mute
1 Tpt. in C
take harmon mute
2 slow, even gliss.
1 Tbn.
slow, even gliss.
2 Tune 2 timpani below pitch level
Timp.
1 3 Tom-toms (Low)
Perc.
2 B.D.
3
(strings)
Synth.
Piano
M.A.
a
scream
ing
horse;
(s)
a
= 60 I Vn. II div.
Va.
div.
div.
Vc.
div.
div. a2
Cb.
44
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
cuivré
1 (non dim.)
Hn. in F
cuivré
2 (non dim.)
with harmon mute
1 Tpt. in C
with harmon mute
2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Synth.
Piano
M.A. 3
man mount ing a
1-3 Vn. I 4-6
1-3 Vn. II 4-6
Va.
Vc.
Cb.
girl.
Ah
Ah
Ah
Ah
Lord,
45
1 legatissimo
Fl. to Piccolo
2
1 Ob. 2
1 Cl. in B 2 legatissimo
Bn.
1 to Contrabassoon
Contrabassoon
Cbn.
1 Hn. in F 2
take straight mute
1 Tpt. in C
take straight mute
2 take straight mute
1 Tbn.
take straight mute
2
Timp. Vib., bowed (bow, let ring, bow‌)
Ratchet
1 legatissimo, seamless Pedal
Lion’s Roar
Perc.
2 B.D.
3 (winds, brass)
Synth.
Piano
8ba
Harp
8ba
M.A.
Lord,
let
me
for
get,
Let
me
for
get!
I Vn. II 2 players, con sord. (last stand)
al sord.
Va. unis., non vib.
vib.
Vc. unis., non vib.
Cb.
pizz.
46
17 Piccolo, solo
Picc.
Fl.
1
1 Ob. 2
1 dolce
Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
1
Perc.
2
3 (va. harmonic)
Synth.
Piano
Harp
*
M.A.
Once
there was a
gold en bird
In
div. a5
I div. a2
Vn. I
dolce
unis., con sord.
II
3 3
(1 sola)
2 players, div. a2, con sord.
legatissimo
Va.
(1 sola)
2 players, div. a2, con sord.
legatissimo
Vc.
Cb. *Singer continues in 7/8 time, ignoring conductor, who also continues in time. Align at the free beats.
47
Picc.
Fl.
1
1 Ob.
*
2 *
1 Cl. in B
*
2
Bn.
1
Cbn.
1 Hn. in F 2 *
with straight mute
*
with straight mute
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
1
Perc.
2
3
Synth.
Piano
Harp
M.A.
a
gar den
of
sil ver trees.
From
the court yard
could be heard
The
tutti, div. via sord.
I Vn. II (div. a3)
2 players, senza sord.
Va.
div. a3
Vc.
Cb. * At approximate position play from niente to
back to niente.
laugh
ter
of
48
Picc.
Fl.
1 rall.
1 Ob. 2
1 Cl. in B
(as before)
2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
1
Perc.
2
3
Synth.
Piano
rall.
poss.
a tempo
M.A.
wom en
at their
ease.
Once
div. a4, senza sord.
there
was
a
gold en bird
In
(div. a4)
I div. a4, senza sord.
Vn. II (2 players)
Va. (div. a3)
Vc.
Cb.
gle altre senza sord.
a gar den of
sil
ver
trees.
49
18 to Flute
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2 **
Bn.
1
Cbn.
*
-
-
-
-
-
-
-
-
-
-
*
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
l.v.
1 Chimes
Perc.
2
3
Synth.
not too fast
8va
Piano
Harp
M.A.
tutti, unis.
It
is
8va
I tutti, unis.
Vn. II 1 sola
Va. div. a4
Vc. dolce ***
Cb.
div. a2 0
0
0
0
*Slow oscillations of pitch and timbre, using right hand. **Slow oscillations of pitch and timbre. Align with horns. ***Contrabass 1 and 2 hold open G, play slow gliss. from A to A and back to A ; 3 holds open D and plays slow gliss. from D to C and back to D.
time;
50
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1 Hn. in F
-
-
-
-
-
-
-
-
-
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 Chimes
Perc.
2
3
Synth.
8va
8va
Piano
Harp
3
M.A.
E le ven o’ clock.
8
I Vn. II
Va.
Vc.
Cb.
“What will you
eat?”
(t)
they ask.
-
51
19
= 60
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 Chimes
Perc.
2
3
Synth.
8va
Piano
Harp
M.A.
“You will wear
white,” (te)
they say.
They cut my
hair.
They
= 60
8
non vib.
div. a5
(
half-step cluster
)
I Vn. non vib.
div. a5
(
)
half-step cluster
II non vib.
div. a4
(
)
div. a4
(
)
(
)
Va.
Vc.
(div. a3)
Cb.
52
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1 dolce
Cbn. dolce
1 Hn. in F
dolce
2 dolce
1 Tpt. in C 2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2 B.D.
3 (low strings)
Synth.
Piano
EFGA B C D
Harp
M.A.
give
me back my
ring.
Am I
go
ing
to
my
wed
ding? div. a2
(div. a5)
I Vn. (div. a5)
div. a2
II (div. a4)
Va. (div. a4)
sul pont.
Vc. (div. a3)
Cb.
sul pont.
53
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1 sim.
Cbn. sim. cuivrĂŠ
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 (B.D.)
3
Synth.
Piano
Harp
5
5
5
5
5
M.A. 5
3
The back of
an ox cart
in the Oc
to
ber
sun.
My peo ple in sult me, they scorn me, harsh
I Vn.
harsh
II
Va.
Vc.
Cb.
They spit on
me
as
I
54
20
Faster
= 75
1 Fl.
Flute
poss.
to Piccolo
2 poss.
1 Ob. 2
1 Cl. in B
2
Bn.
1 to Bassoon
Cbn.
cuivrè
take straight mute
1 Hn. in F
take straight mute
2 (with straight mute)
1 3 3
3
3
jaunty (with straight mute)
Tpt. in C
3
3 3
3 3
3
3 3
3
3 3
3 3
3
3
3
3 3
3
3 3 3
3
2 jaunty
3
3
3
3
3
1 Tbn. 2
Timp. Vib.
1 Tambourine
Perc.
2 3
(B.D.)
3 3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
Synth.
Piano
Harp
(free)
M.A.
pass.
What are those unis.
I unis.
Vn. II
Va.
Vc.
Cb.
flames?
Flags
55 Piccolo
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 3
3
3
3
3 3
3
3
3
3
Tpt. in C
3 3
3 3
3
3 3
3 3
3 3
3 3
3
3 3
3
3
3
3
3
3 3
3
3 3
2 3
3
3
3
3
3
3
3 3
3
3
3
1 Tbn. 2
Timp. Glock, with medium sticks
1 (Tamb.)
Perc.
2 3
3
3
3
3
3
3
3
3
B.D.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 ad lib.
Synth.
Piano
Harp
M.A. 3
in
3
the
streets
of Saint
Hon o
rĂŠ.
What
I Vn. II 8va
div.
Va.
Vc.
Cb.
is
that
3
56
21 Picc.
Fl.
1
1 Ob.
to English Horn
2
1 Cl. in B 2
1
Bn.
Bassoon
2
1 Hn. in F 2
1 Tpt. in C
3
3
3
3
3
3 3
2 3
3
3
3
3
1 Tbn. 2
Timp. (Glock.)
S.D.
1 Tenor Drum
(Tamb.)
Perc.
2 3
(B.D.)
3
3
3
3
3
B.D.
3 Low Gong
Synth.
Piano
8ba
with nails
Harp
8ba
3
M.A.
sound?
My
fu
ner
al
drums.
I Vn. II (div.) 8
Va.
Vc. 0
Cb.
57
Picc.
Fl.
1
Ob.
1
E.H.
1 Cl. in B 2
1
Bn. 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
Timp. (S.D.)
1 (Ten. Dr.)
Perc.
2 B.D.
3 (Low Gong)
Synth.
Piano
8ba
Harp
8ba
(rush)
(rush) 6
(in a trance)
6
M.A.
I
climb the
stairs.
AmI dream ing?
Some one help me!
Vn. I
Vn. II
1 2
Vn. II
3
Vn. II
4
Vn. II
5 6
div.
1
Va.
2 div.
3 4 Vc. (1 player, pizz.)
Cb.
0
0
0
0
58
Picc.
Fl.
1
Ob.
1
Cl. in B
1 2
(1.)
1
Bn. 2
Hn. in F
1 2
Tbn.
1 2
Timp. (S.D.)
1 (Ten. Dr.)
Perc.
2 B.D.
3 (Low Gong)
(CONTRABASS)
Synth.
Piano
8ba
Harp
8ba
a tempo 3
3
M.A. 3
Three
steps.
Four.
I want to
cry
out,
I am in no cent!
8va
1 8va
2 8va
Vn. I
3 4
5
6
1 2
3 Vn. II 4
5 6 Va. 1 2 Cb.
0
3
0
0
59
Picc.
Ob.
1 English Horn
E.H.
Cl. in B
1 2
1
Bn. 2 with straight mute
1 Hn. in F
with straight mute
2 (with straight mute)
1 3
Tpt. in C
3
3 3
3 3
3 3
3 3
3
3 3
3
(with straight mute)
3 3
3
3 3
3
3 3 3
2 3
3
3
3
3
(with straight mute)
1 Tbn.
(with straight mute)
2
Timp. (S.D.)
1 (Ten. Dr.)
Perc.
2 Tamb.
(B.D.)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 (B.D.) (MUTED TROMBONE)
Synth.
Piano
8ba
Harp
8ba
3
M.A. 3
3
in no cent! 8
I Vn. II
Va.
Vc.
1 2 Cb. 3
3
Sev
en.
Eight.
Take
care
of my
60
Picc.
Fl.
1
Ob.
1
E.H.
1 Cl. in B 2
1
Bn. 2
1 Hn. in F 2
1 3
3
3
3 3
3
3
Tpt. in C
3
3 3
3
3
3
3
3
3
3 3
3
3
3 3
3
3 3
3 3
3 3
3
3
3
3
3 3
3
3
2 3
3
3
3 3
3
3 3
3
3
3
1 Tbn. 2
Timp. (S.D.)
Glock.
1 (Ten. Dr.)
Perc.
2 3
(Tamb.)
3
3
3
3 3
3
3 3
3
Don’t
take
3
3
3
3
3
3
3
3
3
3 3
3
3 (B.D.) (STRINGS)
Synth.
Piano
8ba
Harp
8ba
M.A.
child ren! 8
(div. a6)
I (div. a6)
Vn. II (div. a4)
Va. (div. a4)
Vc. (div.)
Cb.
1 2 3
Nine.
Ten.
me!
Don’t
take
me!
3
3
61
Picc.
Fl.
1
Ob.
1
E.H.
1 Cl. in B 2 **
1 poss.
Bn.
**
2 poss. *
**
1 poss.
Hn. in F
*
**
2 poss.
**
1 Tpt. in C
**
2 *
**
1 poss.
Tbn.
*
**
2 poss.
Timp. (Glock.)
1 (Ten. Dr.)
Perc.
(S.D.)
2 Tamb.
(B.D.)
3 3
3
(STRINGS)
Synth.
Piano
8ba
C E G
Harp
poss.
8ba
M.A.
Lord, 8
(div. a6) ***
I (div. a6)
***
Vn. II (div. a4)
***
Va. (div. a4) (
)
slow gliss.
**
***
**
***
**
***
Vc. (div.) (
) slow gliss.
1 2 arco (
Cb.
) slow gliss.
3 *Fast, irregular patterns, like morse code. **Highest loud note possible. ***As loud as possible, quasi-glissando, roughly following squiggly line.
3
62
22
= 60 to Flute
Flute
Picc.
Fl.
1 3
Ob.
3
1 3
E.H.
1 Cl. in B
3
2
1 Bn.
to Contrabassoon
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Vib.
1 (S.D.)
Perc.
Pedal
2 (Tamb.)
3 (B.D.) full hand clusters
Synth.
(double forearm cluster)
Piano
Harp
M.A.
let me for get!
Let me for get!
Once
there was‌
= 60
div.
I Vn. div.
II 1 sola div.
unis.
div.
unis.
Va.
Vc.
div. a2
Cb.
unis.
63
23 1 Fl. 2
Ob.
1
E.H.
1
()
2
()
1
()
Cl. in B
Bn.
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Louis: (spoken)
Recit.
(to Marie Antoinette)
Louis
My wife was always hard to please.
I Vn. II
Va.
Vc.
Cb.
An
to ni
a, you must change with the times.
We are
dead!
It
is
time to
re
64 Allegro
= 144
a2
Fl.
1 2 1
Ob.
3
3
3
3
3
3
3
3
3
3
3
3
2 1.
Cl. in B
Bn.
1 2
1
Cbn. open
Hn. in F
3
3
1 2 with straight mute
Tpt. in C
1 2
Tbn.
1 2
1.
Timp. Ratchet
1 3
T. Blks.
Perc.
3
2
3 (strings)
Synth.
Piano
with nails
Harp
3
(Louis stops them with a withering stare)
3
W. w. H.
Bored.
Bored.
Marq. 8
3
(interrupted by Ghosts)
3
Bored.
Bored.
Louis
joice!
3 Women
S1 3
3
3
3
3
3
It is time to re joice!
3
3
3
3
3
3
It is time to re–
S2
It is time to re joice!
It is time to re–
A
It is time to re joice!
It is time to re–
S
Opera Ghosts
Dead.
Dead.
Dead.
Dead.
Dead.
A
Dead
Rug
Dead
Rug
Dead.
T 8
Bored.
Bored.
Bored.
Bored.
B
Allegro
= 144
non div.
3
3
Po ta to.
3
3
Po ta to.
pizz.
I sul pont.
Vn. II
non div.
*
div.
Va. non div.
* div.
Vc. pizz.
Cb. *Very slow quarter-tone oscillations.
arco sul pont.
(sul pont.)
Bored.
65
1 Fl. 2
Ob.
1
E.H.
1 Cl. in B 2
Bn.
1
Cbn.
rip
1 Hn. in F
rip
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
E F G A B C D
Harp
(recitative) espr., slower
Beau. (recitative) (serious again)
On ly
if her ma jes ty
de sires
it. dolce
Louis
Beau mar chais, you pro mised us an op’
I Vn. II
Va.
Vc.
Cb.
ra.
To please
us,
An ton
ia?
66
24
Allegro
= 144
a2
Fl.
1 2
1
3 3
3 3
3
3
3
3
3
3
3
3
3
3
3
Ob. 2 3
Cl. in B
3
1 2 3
Bn.
3
3
3
1 to Bassoon
Cbn. a2
Hn. in F
1 2
Tpt. in C
1 2
fltg. (with straight mute)
remove mute
1.
Tbn.
1 2
Timp. Ratchet
1 Perc.
3
T. Blks.
3
3
3
3
2 (strings)
Synth.
8ba
Piano
Harp
W. w. H.
Bored.
Bored.
Bored.
Bored. (glares murderously)
Marq. 8
spoken
Louis
“Really!� S1
3
3 Women
3
It is
3 3
3
time to re joice!
It is
3
3
time to re joice!
It is
S2 3
It is
3
3
3
3
time to re joice!
It is
3
3
time to re joice!
It is
A 3
It is
3
3
3
time to re joice!
It is
3
3
3
time to re joice!
It is
S
Opera Ghosts
Please us.
Egg.
Please us.
Egg.
A
Please us.
Rug.
Please. us.
Rug.
T 8
Bored.
Bored.
Bored.
Bored.
B
Allegro
non div., arco
= 144
3
3
Po ta to.
I Vn. II non div.,
Va. non div.,
Vc. div., pizz.
Cb.
unis., arco, sul pont.
3
3
Po ta to.
67
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Beaumarchais: (freely, to Marie Antoinette) (sung) espr.
(whispered)
Beau.
I
I Vn. II
Va.
Vc.
Cb.
am
a doc tor,your Ma jes ty.
My op ’ra can cure me lan cho ly.
My words are
a
spell.
Lis ten to my ti
tle:
“A
68
Fl.
1 2
Ob.
1 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
Tpt. in C
1 2
1 Tbn. 2
Timp.
1
Perc.
2 B.D.
3
Synth.
Piano
Harp
Beau.
Fi
ga
ro
for
An
to
ni
a.� poss. (with a sense of wonderment)
S
Fi
ga
ro?
Oooh
Opera Ghosts
whispered
A
a
Fi
ga
ro?
for
An
to
ni
a
(like a sigh)
T 8
(intakes of breath)
Ah (like a memory) 3
B con sord.
(intakes of breath)
Fi
I Vn.
dolce con sord.
(tutti)
dolce con sord.
1 sola, via sord., gli altri, div.
II dolce
Va. dolce con sord.
dolce 3 soli, via sord., gli altri
Vc. dolce con sord.
dolce (tutti)
Cb. dolce
dolce
ga
ro
25
Overture
69
= 72 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3 (HARPSICHORD)
secco
Synth.
Piano
Harp
(Clap hands) (curtains of the little (The Almaviva drawing room in Paris. Elegant with many doors, sofas, chairs, a chest and large windows. It is empty.) stage fly open)
(A door opens and Figaro peaks into the room. He quietly enters, mopping his brow. He has been running.)
Beau.
Watch!
= 72 1 solo, pizz., senza sord.
arco
I Vn. II 1 sola, pizz., senza sord.
Va. div., senza sord.
1 2
Vc.
1 solo, pizz., senza sord.
arco
pizz.
3 secco 2 soli, div., senza sord. 1. arco, 2. pizz.
Cb.
arco
70
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
A
Harp
(He looks around slowly, goes to an armchair…)
(…and is about to sit down, when…)
(solo)
I Vn. II (sola) arco
Va. arco
pizz.
1.
1 2
2.
(arco) pizz.
Vc.
(pizz.)
3
1 (arco)
Cb.
1.
1.
arco
71
= 144
26 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
Timp.
Perc.
1 2 3 (BASSOONS)
Synth.
Piano
Harp
(A chorus of pursuers jump up, point at Figaro and begin to chase him.)
(The Muscovite Traders block the door.)
(He begins the chase.)
Figaro
Oh,
no!
Here we go again!
Chorus of Pursuers
S
There’s
Fi ga ro!
Stop!
There’s
Fi ga ro!
Stop!
There’s
Fi ga ro!
Stop!
There’s
Fi ga ro!
Stop!
A
T 8
B
= 144
tutti, senza sord.
I tutti, non div., senza sord.
Vn.
div. a2
II tutti, non div. (senza sord.)
div. a2
tutti, non div. (senza sord.)
div. a2
Va.
Vc. tutti, non div. (senza sord.)
Cb.
0
72
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 secco
Bn. 2
O
1 secco
Hn. in F
O
2 secco
take straight mute
with straight mute
take straight mute
with straight mute
1 Tpt. in C
remove mute
2 take straight mute
1 Tbn.
take straight mute
2
Timp.
Perc.
1 2 3
Synth.
15ma
Piano
S
Chorus of Pursuers
Stop! A
Stop!
Old Man:
T 8
Stop!
3 Muscovite Traders:
You
thief, you stole my
Tutti
daugh
ter!
Other Man in Room: (spoken)
B
You owe
me
mo
ney!
Stop!
My
wife!
I
Vn.
unis.
div. a2
unis.
II
div. a2
Va.
div. a2
Vc.
Cb.
non div.
73
27 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
O
3
3
3
3
3
3
3
3
1 Hn. in F
O
2 open
take straight mute
with straight mute
1 Tpt. in C
open
take straight mute
2
1 Tbn. 2
Timp.
1
Perc.
2
3 8va
Piano
Susanna:
Susanna
You’ll pay, you’ll
Figaro:
pay, you’ll pay, you’ll
pay!
Figaro
My
wife!
Chorus of Pursuers
S
Stop!
Stop,
Fi ga ro!
Stop!
Stop,
Fi ga ro!
Stop!
Stop,
Fi ga ro!
Stop!
Stop,
Fi ga ro!
A
T 8
B non div.
I sub. non div.
Vn. II sub.
Va. unis.
Vc.
Cb.
74
1 Fl. 2
1 Ob.
4:3
4:3
4:3
4:3
2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 (straight mute)
1 Tpt. in C
with straight mute
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Piano
Figaro
Oops!
Chorus of Pursuers
S
A Man with lather on face:
T 8
Fi ga ro!
B
I Vn. II div.
Va. pizz.
Vc.
Cb.
3
3
How could you leave me like this?
4:3
4:3
75 ( = 144) soli
1 Fl.
sub.
soli
2 sub.
1 Ob. 2 3
3
3
3
1 Cl. in B
dolce
3 3
3 3
2 dolce
1 Bn. 2
1 Hn. in F 2 (straight mute)
1 Tpt. in C
(with straight mute)
2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2
3
3
3
3
3
dolce
Harp
(Woman holding an infant pursues Figaro.)
(Figaro pokes head up.)
(Figaro hides.)
Figaro Woman holding infant:
They love me!
S Chorus of Pursuers
3
3
Fi ga ro! Look at your
son.
Give him a
kiss.
Other women holding babies:
dolce
3
3
3
3
A
Where
are
you,
Fi
ga
ro?
Come
to
me,
Fi
ga
ro.
T 8
B
( = 144) I div.
Vn.
3
3
3
3
unis.
II unis., pizz.
dolce arco
Va.
arco, non div.
non div.
non div.
Vc. pizz.
Cb.
76
28 1 Fl. 2
1 Ob. 2 3
3
3
3
1 Cl. in B
3 3
2
1 Bn. 2
3
1 Hn. in F 2 remove mute
1 Tpt. in C
remove mute
2
1 Tbn. 2
Timp.
Perc.
1 2 3 3
3
3
Harp
(Figaro ducks, runs away toward Count Almaviva.) (Almaviva grabs Figaro by the collar.)
Susanna:
3
3
Susanna 3
Where
are
you
Fi
ga
ro?
Come
to
me‌
Count Almaviva: marc.
Almaviva 3
8
Wretch!
(Susanna threatens Figaro with a rolling pin.) Figaro
tutti
Just
lis ten to them.
A
3
dor a ble!
S 3
Stop!
Stop,
Fi ga ro!
tutti
Chorus of Pursuers
3
A
Stop!
Stop,
Fi ga ro!
Stop,
Fi ga ro!
Stop,
Fi ga ro!
tutti
T 8
Stop!
3
tutti
B
Stop!
3
div., pizz.
I Vn.
div.
3
3
3
II
Va. non div.
Vc. arco
Cb.
non div.
non div.
3
Did you for get to de
77
1 Fl. 2
1 Ob. 2
1 Cl. in B 2 a2
Bn.
1 2
3
3
3
3
3
3
3
3
1 Hn. in F 2
open
take straight mute
with straight mute
take straight mute
with straight mute
1 Tpt. in C
open
2
1 Tbn. 2
Timp.
Perc.
1 2 3 8va
Piano
(Susanna marches toward Figaro and Count Almaviva.)
(Susanna points to the children, one by one.) (Figaro breaks away and runs.)
(She continues to point to the baby and mouths the words.)
(
Susanna
(Figaro runs into man with lather on his face.)
)
Is that your child, is that your child, is that your child,
is that your child?
Almaviva 3 8
li ver the let
ter?
Figaro
3 3
No,
mas ter, I swear it.
I’ve ne ver
seenthembe fore!
Chorus of Pursuers
S
Stop!
Stop,
Fi ga ro!
Stop!
Stop,
Fi ga ro!
Stop!
Stop,
Fi ga ro!
Stop!
Stop,
Fi ga ro!
A
T 8
B unis., arco (non div.)
I non div.
Vn. unis.
II div., pizz.
unis., arco
Va.
Vc. pizz.
Cb.
arco
78
29 =
=
1 Fl. 2
1 4:3
Ob. 2
1 Cl. in B 2
1 Bn. 2 O
1 Hn. in F 2 remove mute
open
1
4:3
Tpt. in C
remove mute
4:3
open
2 (with straight mute)
remove mute
(with straight mute)
remove mute
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
(contrabass)
(They all begin to crowd around Figaro.)
Susanna
Almaviva 3
8
Fi ga ro!
Figaro
Yes,
sir?
Chorus of Pursuers
S
A Man with lather on face:
T 8
3
3
Fi ga ro, when will you
fi nish my shave? 3 Muscovites: a3
B
Fi ga ro, =
you
owe
me
mon
ey.
=
I Vn. div. a3
II div., pizz.
Va.
Vc.
pizz.
Cb.
3
Did you for get to de
79
1 Fl. 2
1 Ob. 2
Cl. in B
1 2
Bn.
1 2
Hn. in F
2 1
a2
3
3
1
3
Tpt. in C
3
3
3
3
3
3
3
2
Tbn.
1 2
Timp.
Perc.
1 2 3 (woodwinds)
(TRUMPET)
Synth.
3
(tuba)
Piano
3
3
3
Harp
3
(Figaro turns to respond to the questions.)
Susanna
Fi ga ro!
Is
that your
child? Is
that your child?
Almaviva 3 8
3
li ver the let
ter?
3
3
Fi ga ro! Did you for get to de li ver the
let
ter?
Figaro Woman with child:
No,
sir.
Yes, mam.
No, mam.
Yes, sir.
No,
sir.
S 3
Fi ga ro! Give him a Chorus of Pursuers
Women with children:
3
kiss. div.
Fi ga ro! Give him a 3
3
3
A
Fi
ga
ro,
Fi
ga
ro,
come
3
to
me,
Fi
ga
ro‌ Man with lather on face:
T 8
Fi ga ro!
3
Fi nish my shave. Muscovites:
B non div.
Fi ga ro!
I Vn. non div.
II
div., pizz.
unis., arco
unis., arco
Va. pizz.
arco
pizz.
arco
Vc. arco
Cb.
0
80 a2
Fl.
1 2
1 Ob. 2
1 Cl. in B 2 (a2)
Bn.
1 2 3
Hn. in F
1 2
Tpt. in C
1 2 3
3
3
3
3
3
open
Tbn.
1 2 3
Timp. Xyl.
1 Perc.
B.D.
3 (low woodwinds)
Synth.
3
3
3
3
3
Piano
3
3
Harp
(The group is stunned by Figaro’s outburst.)
Susanna
Fi ga ro!
Is
that your
child?
Almaviva 3
8
Fi ga ro!
Did you for
3
3
get to de li ver the
lett‌ poss.
Figaro
Yes, Sir,
No, mam,
No,
sir,
yes, mam,
yes,
no, mam, sir,
Stop!
S 3
kiss.
Give him a
Chorus of Pursuers
3
kiss!
3
A Old man in window:
Fi ga ro!
Fi ga ro! You
Come to us thief, you stole my
Fi daugh
ga
ro. ter!
T 3
8
Man with lather on face: Fi ga ro!
Fin ish my
B
You owe div.
us
mo
ney.
Fi ga ro! unis.
non div.
I Vn.
non div.
II
Va.
Vc.
Cb.
(Figaro darts away and resumes the chase.)
81
30 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1
Bn.
2
1 Hn. in F 2 with harmon mute
take harmon mute
1 Tpt. in C
take harmon mute
2 with harmon mute take harmon mute
1 Tbn.
take harmon mute
2
Timp. (Xyl.)
1 Castanets
Perc.
2 Wd. Blk.
3
Synth.
(tbns.)
Piano
Harp
(They all pursue Figaro.)
(Excited by the onstage chase scene, the ghosts initiate a chase of their own, which Marie Antoinette, Beaumarchais, and Louis do not participate in. Madness has broken out, onstage and off.) ad lib shouts like “There he is!”, “over here,” “I see him,” etc.
Chorus of Pursuers
S
Get ’im!
ad lib shouts like “There he is!”, “over here,” “I see him,” etc.
A
Get ’im!
ad lib shouts like “There he is!”, “over here,” “I see him,” etc.
T 8
ad lib shouts like “There he is!”, “over here,” “I see him,” etc.
B
I marc.
Vn.
div. a2 unis., col legno battuto
ord.
col legno battuto
ord.
div. a2
unis., col legno battuto
ord.
col legno battuto
ord.
div. a2
unis., col legno battuto
col legno battuto
ord.
II
Va. ord.
Vc. 0
Cb.
pizz.
82
Fl.
1 2
Ob.
1 2
1 Cl. in B 2
1 Bn. 2 **
1 3
Hn. in F
3
**
*
2 remove mute
1 Tpt. in C
remove mute
2
1 3
with harmon mute
*
Tbn. 2
3
Timp. Xyl.
1 T. Blks.
Perc.
2 Ratchet
(Wd. Blk.)
3
(bass clarinet)
Synth.
(bassoon)
Pno.
Chorus of Pursuers
Harp
S A T B (The pursuers continue to shout as they search for Figaro.)
S
Opera Ghosts
Rug!
(laughter)
A
Dead!
Bored!
3
(laughter)
Dead!
3
T 8
Egg!
Bored!
(laughter)
Egg!
B 3
3
Po ta to!
(laughter)
pizz.
I arco, non div.
Vn.
pizz.
II non div.
Va.
Vc. solo, arco sul pont.
Cb. *Horn 2 plays this cue only if Trombones plays the third bar. Trombone 2 plays this bar if they can not play the third bar. **Horns play only if too high for Trombones.
tutti, arco ord.
83
Fl.
1 2 O
Ob.
1 2
Cl. in B
2 1
Bn.
1 2
Hn. in F
1 2
(a2)
3
3
3
3
3
3
3
3
1.
3
3
3
open
1 3
Tpt. in C
3
open
2
Tbn.
3
1. (with harmon mute)
2. remove mute
*
3
1. and 2. open
1 2 3
3
Xyl.
1 T. Blks.
Perc.
2 Ratchet
3
Synth.
(tuba)
Piano
Harp
3
S Chorus of Pursuers
3
Stop!
Stop,Fi ga ro.
Stop!
Stop, Fi ga ro!
Stop!
Stop,Fi ga ro.
Stop!
Stop, Fi ga ro!
Stop!
Stop, Fi ga ro!
Stop!
Stop, Fi ga ro!
3
A 3 3
T 3
8
Stop!
Stop,Fi ga ro.
B 3
Stop!
3
Stop,Fi ga ro.
S
Opera Ghosts
Rug!
Stop,
Fi
ga ro!
Stop,
Fi
ga ro!
A
Bored!
3 3
T 8
Bored!
B 3
3
Po ta to!
I Vn. II
Va. pizz.
Vc. 1, solo 2-3
2-3 (non div.)
tutti, ord.
pizz. 0
Cb. *As before.
3
84
31 1
3
3
3
3
3
3
Fl. 2
Ob.
1 2
Cl. in B
1 2
Bn.
1 2 with straight mute
take straight mute
3
3
1 Hn. in F
3
3
3
3
take straight mute
with straight mute 3
3
2
3
3
with straight mute
take straight mute
3
3
3
3
1 Tpt. in C
take straight mute
2 take straight mute
1 Tbn.
take straight mute
2
Timp. Trg.
Perc.
1 2 3
(bn., vc., cb.)
Synth.
8va
3
3
3
3
3
3
Piano
S Chorus of Pursuers
Stop! A
Stop! T 8
Stop!
B
Stop! S
Stop!
Stop him, stop Fi ga ro
(laughter)
3
Opera Ghosts
3
A
Stop!
Stop him, stop Fi ga ro
(laughter)
T 8
Stop!
B
Stop!
I
3
Vn.
3
3
pizz.
arco
II
pizz.
Va. arco
pizz.
arco
Vc. unis., arco
Cb.
pizz.
85
32 1
3
Fl. 2
3
1 3
Ob. 2
1 Cl. in B 2
3
3
3
3
3
3
3
3
1 Bn. 2 3
3
3
3
3
3
3
3
3
1 Hn. in F 2
remove mute
1 Tpt. in C 2 with straight mute
1 Tbn.
3
3
3
3
with straight mute
2
Timp. Trg.
Tamb.
2 Perc.
B.D.
3 (muted trombones)
3
3
3
3
Synth.
3
3
3
3
Piano
Harp
whisper
(The music grows softer as the group onstage grows smaller.)
(They finally disappear.)
S
Opera Ghosts
Stop
3
him,
3
A 3
3
Fi ga ro!
whisper
T 8
Stop him, stop Fi ga ro!
3
Stop him,
(laughter) whisper
3
B 3
3
Stop him, stop Fi ga ro!
Stop him, stop‌
(laughter)
I Vn. II
Va. div. a3 3
Vc.
Cb.
3
86 = 144
3
=
*
1 Fl.
to Piccolo
2
1 Ob. 2
1 Cl. in B 2 a2
Bn.
1 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
remove mute 3
1 Hn. in F
remove mute
3
2
1 Tpt. in C
with straight mute
remove mute
3
2
remove mute
1 Tbn.
remove mute
2
Timp.
1
Perc.
2 B.D. 3
3
Synth.
Piano 3
Harp
(They finally disappear.)
(Figaro appears through another door and races toward the closet. The quartet of ghosts whisper among themselves until the door slams, indicating the start of Figaro’s aria.)
S 3
Opera Ghosts
Fi ga ro! A 3
Fi ga ro! T 8
3
Fi ga ro!
B 3
Fi ga ro!
= 144
*
I Vn. II
Va.
Vc. col legno battuto 3
Cb. *Repeat as necessary, attacca Aria.
attacca
33
87
Aria = 144
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 open
1 Hn. in F
open
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 Wd. Blks.
Perc.
2 cue Stage Door Knocking
3
Synth.
Piano
Harp
(Figaro slams the door shut. Inside, the pursuers bang loudly.) (Figaro locks door and tosses key out window.) Figaro Door slams shut
(door knocking)
Stg. Dr. Knocking
= 144 I Vn. II
Va. Vc.
Cb.
88 Piccolo
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 open
take straight mute
open
take straight mute
1 Tpt. in C 2 open
1 Tbn.
open
2 with hard sticks
Timp. Xyl.
1 (Wd. Blks.)
Perc.
2 (Stage Door Knocking)
3
Synth.
(brass)
Piano
Harp
Figaro
They wish they could kill me. Stg. Dr. Knocking
I Vn.
div.
II non div.
Va. div.
Vc.
Cb.
unis.
They wish they could stop me.
They
89 to Flute
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 take straight mute
1 Tbn.
take straight mute
2
Timp.
1 Wd. Blks.
Perc.
2 (Stage Door Knocking)
3
Synth.
Piano
Harp
Figaro
hate
me,
they loathe me.
Tell
me
why
do they tor ment me so.
Stg. Dr. Knocking
I Vn. II
Va.
Vc. pizz.
Cb.
90
34 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 with straight mute
1 Tpt. in C
with straight mute
2
1 Tbn. 2
Timp.
1 Wd. Blks.
Perc.
2 (Stage Door Knocking)
3
(piano)
Synth.
Piano
Harp
(smiles shyly)
(laughs)
falsetto sweetly
(laughs)
Figaro
They’re
jea lous!
They’re jea
lous!
They’re jea lous,they’rejea lous.
They’re
Stg. Dr. Knocking
I Vn.
unis.
II
Va. (div.)
Vc.
(pizz.)
Cb.
arco
91
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
(with straight mute)
1 Tpt. in C
(with straight mute)
2 with straight mute
1 Tbn.
with straight mute
2
Timp. (Wd. Blks.)
2 Perc.
(Stage Door Knocking)
3
(brass)
Synth.
Piano
Harp
(Figaro slams hand against door to stop its banging.)
Figaro
jea
lous!
of
what,‌
Stg. Dr. Knocking arco, div.
pizz.
I Vn.
pizz.
div.
arco
II (non cresc.) pizz.
div.
arco
Va. (non cresc.) unis., pizz.
arco
div.
Vc. (non cresc.) arco, div.
Cb.
(t)
92
35
*
1 Flute
Fl.
*
2
*
1 *
Ob. 2 *
1 Cl. in B 2 *
1 Bn. 2
*
1 Hn. in F
*
2 *
1 Tpt. in C
*
2
1 Tbn.
(with straight mute)
2
Timp. Vib.
1 Pedal
Perc.
2
3
Synth.
Piano
Harp
(Figaro slumps down, imitating a very old man.)
Figaro
You may ask.
I Vn. II unis.
Va. unis.
Vc. unis., pizz.
Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.
93 (
= 144)
Continue in tempo, ignoring conductor
1 Fl. 2
1 Ob. 2
1 Cl. in B
*
2
1 Bn.
to Contrabassoon
*
2
open
1 Hn. in F
open
2 remove mute
1 Tpt. in C
remove mute
2 (with straight mute)
*
1 Tbn.
*
2
Timp. (Vib.)
1
Perc.
2
3
Synth.
Piano
E F G A B C D
Harp
Slow and plodding
(May start earlier)
= ca. 68 **
Figaro
I pant
(
= 144)
Continue in tempo, ignoring conductor
I Vn. II
Va.
Vc. (May start earlier)
Slow and plodding 2 soli, div.
= ca. 68
Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated. **Repeat if needed for staging purposes.
**
when I walk.
I
94
36
= ca. 68
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(out
in out
in out
) 3
Figaro 3
wheeze
= ca. 68 I Vn. II
Va.
Vc. (2 soli, div.)
Cb.
3
3
3
when I
talk.
(cough)
My mus cles are slack.
I’ve a pain in my back.
95
37 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1 Contrabassoon
Cbn. sim.
1 Hn. in F
sub.
2 open
1 Tpt. in C
sub.
open
2 sub.
1 Tbn. 2 sim.
Timp.
1
Perc.
2 Low Drum 3
3
3
3
3
Synth.
Piano
Harp
Figaro 3
My mo
I Vn. II
Va.
Vc. (2 soli, div.)
Cb.
ney is low,
my sta tus
less than quo.
3
I’m poor,
I’m weak,
96 3
= 1 Fl. 2
1 Ob. 2 3
3
3
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F
brassy
sub.
brassy
sub.
2
take straight mute
1 Tpt. in C
take straight mute
2
1 brassy
Tbn.
sub.
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
3
Figaro
My fu ture’s ra ther bleak, I’m stooped,
I’m spent,
I’m
al most im po tent. Once mas ter
now va let,
As
for tune would have it,
3
I’ve been 3
= 3
3
3
I Vn. 3 3
II
3 3
Va. 3
Vc. 3
(div.)
Cb.
unis.
div.
97
38 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Figaro starts to straighten up, gains confidence and energy.)
Slowly at first; pause at ’
cadenza (still slow)
Figaro
di plo mat, ac ro bat, Teach er of
I Vn. II
Va.
Vc.
Cb.
et
i quette, Stu dent and swords man,
Spy and mu si
cian.
I’ve been sa tir ist, pes si mist,
98
39 1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Figaro
Sur geon and Cal van ist, Span ish e con o mist, Clock mak er, phar ma cist,
Vet ’ri na ri an,
E gal
i
tar
i
an,
Heath en co me di an, Pi ous tra
I dolce div.
Vn. II
dolce unis.
Va. dolce
Vc. dolce
Cb.
unis.
99 accel. poco a poco
40
= 144
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
cadenza Figaro
ge
di an.
I’ve been or
a tor, po et, And
pi rate and pro phet, A
I Vn. II
Va. div.
Cb.
bies, Drunk en and so ber, A
= 144
accel. poco a poco
Vc.
man for the la dies And fa ther of ba
100 rall.
subito a tempo (with ĂŠlan)
= 144
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2 with straight mute
1 Tpt. in C
with straight mute
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Figaro
hus band and Sail
or,
Bar ber and broth er And ban ker and lov
rall.
er.
Di plo mat, ac
subito a tempo (with ĂŠlan) pizz.
I Vn.
pizz.
II
pizz.
Va. unis.
pizz.
Vc. pizz.
Cb.
ro bat, Teach er
of
et
= 144
i quette, Stu dent and swords man,
101
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2 remove mute
1 Tpt. in C
remove mute
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Figaro
Spy and mu
si
(pizz.)
cian,
Sa
tir ist, pes
si mist, Sur geon and Cal vin ist, Span ish
e
con
o mist, Clock mak er, phar ma cist,
Vet ’ri nar arco
I Vn.
(pizz.)
dolce div., arco
(pizz.)
dolce arco
II
Va. (pizz.)
dolce arco
Vc. (pizz.)
Cb.
dolce
i
an,
102
1 Fl.
to Piccolo
2
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Figaro
E
gal
i
ta
ri
an, Heath en co me
di
an,
Pi ous tra ge
di
an,
Or
a
tor, po
et, And
pi rate and pro phet, A
man for the la dies And
I Vn.
unis.
II
Va.
div.
Vc.
arco
Cb.
103
41 rall.
a tempo
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
Bn.
1 cresc. poco a poco
Cbn. cresc. poco a poco
1 Hn. in F
staccatissimo
2 staccatissimo
open
1 Tpt. in C
staccatissimo
open
2 staccatissimo
1 staccatissimo
Tbn. 2
staccatissimo
Timp. secco
1
Perc.
2 Choke Cym.
3 secco
Synth.
secco
Piano
Harp
cresc. poco a poco
Figaro
fath er
of
ba
bies, Drunk en and so ber, A
hus band and sail
or,
Bank er and broth er And bar ber and lov
rall.
er.
Di plo mat, ac
a tempo
I cresc. poco a poco
Vn. non div.
II cresc. poco a poco non div.
Va. (div.)
cresc. poco a poco unis.
Vc. cresc. poco a poco
Cb. cresc. poco a poco
ro bat,
non div.
104 Piccolo
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Glock.
1
Perc.
2 (Cym.)
3
Synth.
(tuba)
Piano
Harp
Figaro
Teach er
of
et
(non div.)
I Vn.
(non div.)
II (non div.)
Va.
Vc.
Cb.
i quette, Stu dent and swords man,
Spy and mu
si
cian,
Sa
tir ist, pes
si mist, Sur geon and Cal vin ist,
Span ish
e
con
o mist,
105
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Glock.)
1
Perc.
2 (Cym.)
3
(brass)
Synth.
Piano
Harp
Figaro
Clock mak er, phar ma cist, Bank er and Bar ber (and) Broth er and lov
er, Drunk en and so ber, A
hus band and sail or, And
now div.
I Vn.
div.
II div.
Va. div.
Vc. div.
Cb.
I’m
a
106
42 a tempo Picc.
Fl.
1
1
Ob. 2
1 Cl. in B 2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3 (low woodwinds, strings) *
Synth.
Piano
Harp
Figaro
fail
ure!
I’ve
seen
ev
a tempo div. al sord.
I Vn.
al sord.
II div. unis.
Va.
Vc. unis.
Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.
’ry
thing,
done
107
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
Bn.
1
to Bassoon
Cbn.
1 Hn. in F 2 take straight mute
1 Tpt. in C
take straight mute
2 *
take straight mute
1 take straight mute
Tbn.
*
2
Timp.
1
Perc.
2 B.D.
3
Synth.
Piano
with nail
E F G A B C D
Harp
tratt.
Figaro
ev
’ry
thing,
had
ev
’ry
thing,
I Vn. II
Va.
Vc.
Cb. *Play chromatic ad lib. lines as fast as possible. Follow general contour indicated.
and lost
ev
’ry
thing.
108 = 80–84
43
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn.
legatissimo
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Marie Antoinette:
M.A. 3
Poor Fi ga ro. Woman with Hat:
W. w/Hat
Poor man,
poor
man.
freely
Figaro
Of
what
then
are
they
jea
= 80–84
lous?
My
div., con sord.
I Vn.
div., con sord.
II div.
al sord.
(div.)
al sord.
Va.
Vc. div.
Cb.
spir
it
109
Picc.
Fl.
1 legatissimo
1 Ob. 2 3
3
3
3
1 Cl. in B
legatissimo
2
1 Bn. 2
1 Hn. in F
3
3
3
2 legatissimo
3
3
3
3
3
3
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
3
slow and even 3
3
3
Figaro
A
va
por
del
3
3
li
ques
cent,
An
ef
fer
ves
cent
li
I Vn. II unis., con sord. 3
Va. unis., con sord.
Vc.
Cb.
110
Picc.
Fl.
1 3
3
3
3
1 legatissimo
Ob. 2
1 Cl. in B 2
1 Bn. 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
3
Harp
3
3
3
Figaro 3
3
3
quid Per va ding, in va
ding, tak ing my bo dy,
3
3
3
Mak ing me flu id,
3
light,
buo yant, I’m sun light,
a
moon beam, And
care free I fly to the
unis. (con sord.)
I Vn.
3
3
legatissimo
unis. (con sord.)
3
3
II legatissimo 3
3
Va. 3
3
3
3
3
3
3 3
Vc. unis. (div.)
Cb.
3 3
legatissimo
3
3
3
3
3
3
3
111
44 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Glock., with soft sticks
1
Crot.
Perc.
2
3 (woodwinds)
Synth.
Harp
Figaro
stars.
Ca pel div. a3
I div. a3
Vn. II div. a4
Va. 3 players
Vc. dolce
Cb.
la,
Cari
na,
Spi
ca,
Auri
ga,
Li
bra,
Ly ra,
An
112
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Glock.)
1 (Crot.)
Perc.
2
3
Synth.
Piano
dolce
Harp
Figaro
dro
me
(div. a3)
I (div. a3)
Vn. II
(div. a4)
Va. (3 players)
Vc.
Cb.
da,
For
nax,
Phoe nix, Bel
la
trix,
Pol
lux
Joy!
Joy!
Care free
I
fly
to
the
113
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Glock.)
1 (Crot.)
Perc.
2 Vib. l.v.
3 (GUITAR)
Synth.
Pedal
dolce
Piano
dolce
Harp
Figaro
stars.
Vul
Vn. I solo
Vn. I gli altri
Vn. II
Va. 3 soli, div. 3 soli
Vc.
div., pizz.
Cb.
pe
cu
la,
Ve
la,
Co
lum
ba,
A
ra,
La cer
ta,
114
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Glock.)
1 (Crot.)
Perc.
2 (Vib.)
3
(GUITAR)
Synth.
Piano
Harp
Figaro
Lu
Vn. I solo
Vn. I gli altri
Vn. II
Va. (3 soli)
Vc.
Cb.
pus,
Le
pus,
Joy!
Joy!
Joy!
Pe
ga sus,
Per
se us,
A qui la.
115
45 = 144 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 (ad lib.)
1 Hn. in F 2 with straight mute
1 Tpt. in C
with straight mute
2 with straight mute
1 with straight mute
Tbn. 2
Timp. (Glock.)
1 (Crot.)
Perc.
2 Stage Door Knocking
3 Door Slam
Synth.
Piano
Harp
Figaro
Stg. Door knocking
*
= 144 Vn. I solo
Vn. I gli altri
Vn. II
Va.
Vc.
Cb. *Conductor cues and conducts stage door knocking, which synchronizes the orchestra.
Wd. Blks.
116
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn.
Bassoon 2
1 Hn. in F 2 remove mute
1 Tpt. in C
remove mute
2 remove mute
1 Tbn.
remove mute
2
Timp. (Glock.)
1 Stage Door Knocking (Crot.)
Perc.
2 (Stage Door Knocking) Wd. Blks.
3
Synth.
Piano
Harp
Figaro
Stg. Door knocking
Vn. I solo unis.
via sord.
unis.
via sord.
unis.
via sord.
Vn. I gli altri
Vn. II
Va.
Vc.
Cb.
117
46 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 open take straight mute
1 Tpt. in C
open
take straight mute
2 open
1 Tbn.
open
2 with hard sticks
Timp. Xyl.
1 Stage Door Knocking
Perc.
2 Stage Door Knocking
Stage Door Knocking
Wd. Blks.
3
Synth.
(brass)
Piano
Figaro
They wish they could kill me. Stg. Door knocking
I non div.
Vn. II
non div.
Va. tutti
Vc.
Cb.
div.
unis.
118 to Flute
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 (Stage Door Knocking)
Perc.
2
3
Synth.
Piano
Harp
Figaro
They wish they could stop me.
They hate me,
they loathe me,
And
we
know why.
They must tor ment me so!
Stg. Door knocking
I Vn. II
Va.
Vc. pizz.
Cb.
119
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2 with straight mute
1 Tpt. in C
with straight mute
2
1 Tbn. 2
Timp.
1 (Stg. Dr. Knocking)
Perc.
2 (Wd. Blks.)
3 (piano)
Synth.
Piano
Harp
Figaro
They’re
jea lous!
They’re jea lous!
They’re jea lous,they’re jea lous!
They’re
Stg. Door knocking
I Vn. II
Va. div.
Vc. (pizz.)
Cb.
arco
120
47 1 Fl.
Flute
to Picc.
2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 (St. Dr. Knocking)
Perc.
2 Wd. Blks.
3
Synth.
Piano
Harp
Figaro
jea
lous!
Yes,
jea
Stg. Door knocking
pizz.
arco
pizz.
arco
I Vn.
div.
II pizz.
arco
Va. pizz.
Vc.
Cb.
arco
div.
lous
Of
121 Piccolo
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 with straight mute
Tpt. in C
take straight mute
2 with straight mute
take straight mute
1 Tbn.
take straight mute
with straight mute
2
Timp.
1 (St. Dr. Knocking)
Perc.
2 Crash Cym.
3 (woodwinds)
(brass)
Synth.
Piano
non arp.
non arp.
Harp
Figaro
Fi
ga
ro,
Stg. Door knocking
I Vn.
div.
II
Va.
Vc.
Cb.
your
Fi
ga ro.
I’m
122
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F
brassy
2 brassy
1 Tpt. in C 2 remove mute
1 Tbn.
remove mute
2
Timp.
1
Perc.
2
3
8va
(flutes)
Synth.
Piano
Harp
Figaro
home
a
gain!
I’ve been vet er in ar
i an,
E qual i tar i an, Heath en co me di an,
I unis. div.
Vn.
unis.
II
Va.
Vc. flautando, long bow
Cb.
pi ous tra ge di an,
123
48 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Figaro
Or
a
tor, po
et, And
pi rate and pro phet, A
man for the la dies And
fath er
of
ba
bies, Drunk en and so ber, A
hus band and sail
pizz.
I Vn.
pizz.
II pizz.
arco
pizz.
Va.
pizz.
div.
arco
Vc.
pizz.
Cb.
arco
unis.
or,
124 poco rall.
a tempo
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F
secco, staccatissimo
2 secco staccatissimo
1 Tpt. in C
secco staccatissimo
2 secco staccatissimo
open
1 secco, staccatissimo open
Tbn. 2
secco, staccatissimo
Timp. Xyl.
1 Choke Cym.
Perc.
2 St. Dr. Knocking
Tenor Drum
3 (brass)
Synth.
Piano
Harp
Figaro
Bank er and broth er And bar ber and lov
er.
Dip lo mat, ac
ro bat, Teach er of
et
i quette, me!
Stg. Door knocking
poco rall.
a tempo non div., arco
I div.
Vn. non div., arco
II non div., arco
Va.
Vc.
Cb.
T. Blks.
125
49 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Xyl.
1 Choke Cym. (S.D.)
Perc.
2 Ten. Dr.
T. Blks.
3
Synth.
Piano
Harp
Figaro
Sa
tir ist, pes
si mist, Sur geon and Cal vin ist,
I
Stg. Door knocking
non div.
I div.
Vn.
non div.
II non div.
Va.
Vc.
Cb.
’ve
been
dip
lo mat, ac
ro bat, Teach er
of
et
i quette,
126 (
= )
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 S.D.
Perc.
2 St. Dr. Knocking
3
Synth.
Piano
Harp
Figaro
Stu dent and swords
man,
Spy and mu
si
cian,
Sa
tir
ist,
pes
si
Stg. Door knocking
(
= )
I Vn.
unis., pizz.
II pizz.
Va. pizz.
Vc. div., pizz.
Cb.
mist,
Sur geon and
Cal
vin
ist,
Span ish
E
co
no mist,
127
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 (S.D.)
Perc.
2 (St. Dr. Knocking)
3
Piano
Harp
Figaro
Clock mak er, phar ma cist.
I’m
Stg. Door knocking
( =
)
I Vn.
(pizz.)
(
= )
arco
II
(pizz.)
(
= )
arco
Va. (pizz.)
arco
Vc. (div., pizz.)
Cb.
unis., arco
non div.
Fi
ga
ro,
128
50
( =
)
Picc.
Fl.
1
Ob.
1 2
Cl. in B
2 1
( =
)
( =
)
( =
)
1 Bn.
(
= )
2
1 Hn. in F 2
(
= )
(
= )
1 Tpt. in C 2
1 Tbn. 2
Timp. Tamb.
1 (S.D., if necessary)
Perc.
2 (Ten. Dr.)
Hi T.-t.
3 (St. Dr. Knocking)
Synth.
(
= )
(
= )
(bns.)
Piano
( =
)
Harp
Figaro
Your
Fi
ga
ro.
I’m *
Stg. Door knocking
( =
)
( =
)
I Vn.
div.
II
Va.
pizz.
(
= )
(
= )
arco
Vc.
pizz.
Cb. *Irregular pounding (more and more joining in), slowly getting both wilder and louder, becoming as loud as possible at the end of the aria.
arco
129
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn.
( =
)
( =
)
( =
)
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Tamb.)
1 (Ten. Dr.)
Perc.
(T.-t.)
2 (St. Dr. Knocking)
3 (bassoon, low strings)
Synth.
Piano
Harp
Figaro
home
a
gain, getting gradually more and more wild
Stg. Door knocking
I Vn. II
Va.
Vc.
Cb.
130
51 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 bell up
1 Hn. in F
brassy bell up
2 brassy
1 Tpt. in C 2
1 Tbn. 2
Timp. Xyl.
1
Perc.
2 (St. Dr. Knocking)
3 (woodwinds)
(brass)
Synth.
Piano
(At this point muffled shouts are heard through the door.)
Figaro
Home
(me)
a
gain!
Stg. Door knocking non div., arco div., pizz.
I Vn. div., pizz.
non div., arco
II
div., pizz.
non div., arco
Va.
non div., arco div., pizz.
div.
Vc.
pizz.
Cb.
arco
div.
131 to Flute
Picc. poss.
Fl.
1 poss.
Ob.
1 2
1 Cl. in B 2
Bn.
1 2
Hn. in F
1 2 take straight mute
a2
Tpt. in C
1 2
Tbn.
1 2
Timp.
Xyl.
Stage Door
1 Perc.
B.D.
2 3
Synth.
(w.w.)
8va
Piano
Harp
(The door flies open and the (He stores at the figures (Beaumarchais closes people spill out on the floor. figures on the floor the curtain of the They look up at Figaro.) and freezes.) little stage.)
(Figaro starts to dance while singing, gradually moving off stage and ignoring the knocking even though by now it is very loud.)
M.A.
(weeping softly) Marquis
Brilliant.
8
Louis
Bravo, Beaumarchais Figaro
(n) S (applause and “bravos”) A (applause and “bravos”) T 8
(applause and “bravos”)
B (applause and “bravos”)
Stg. Door knocking
I Vn. II mettere sord.
Va. unis.
mettere sord.
unis.
mettere sord.
Vc.
Cb.
132
52 Rubato
= ca. 72
1 legato
Fl. 2
1 simply
Ob. 2
1 Cl. in B
legato
2 legato
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Vib., with softest sticks
1 Pedal
Perc.
2
3
Piano
(Beaumarchais notices Marie Antoinette weeping.)
3
3
M.A.
It
was
so
beau
ti
ful,
so
full
of life.
Then, why are you weeping Your Majesty? Beau. 3
Then, why are you weeping Your Majesty?
An
Quartet of Ghosts
S
A
T 8
B
Rubato
= ca. 72
I Vn. II con sord., sul tasto
Va. con sord. sul tasto
Vc. con sord.
Cb.
to
ni
a,
133
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Vib.)
1 (Pedal)
Perc.
2
3
Piano
Harp
(Marie Antoinette looks at Beaumarchais.) whispered
sung
3
Beau.
I
can
bring
you
back
to
life,
home
a
gain.
May
I
bor row your
neck lace,
Your High ness? whispered
S
Quartet of Ghosts
Her necklace? whispered
A
Her necklace? whispered
T 8
Her necklace? whispered
B
Her necklace? I Vn. II via sord.
pizz., senza sord.
via sord.
pizz., senza sord.
Va.
Vc. senza sord. via sord.
Cb.
134
53 = 60
slow 1/4 tone oscillations, ad lib., asynchronous
1 legatissimo
Fl.
Flute, slow 1/4 tone oscillations, ad lib., asynchronous
2 legatissimo
1 Ob. 2
1 Cl. in B
legatissimo
2 legatissimo
1 legatissimo
Bn. 2
legatissimo
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
D
M.A.
My neck lace?
I
want to
3
live a
gain.
Beau.
With your necklace I shall change your past. I shall show you history
as it should have been.
I’ll make you
live a gain.
= 60 I sul pont.
Vn. II
sul pont.
Va.
Vc.
Cb.
135
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 take straight mute
1 Hn. in F
take straight mute
2
1 Tpt. in C 2 take straight mute
1 sub.
Tbn.
take straight mute
2 sub.
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
M.A.
You are mad. Beau.
I, Pierre–Augustine Caron de Beaumarchais, will change the course of history‌
with
a
neck
lace.
sul pont. ad lib. pont. al ord. al pont.
I ad lib. pont. al ord. al pont.
Vn. II
ad lib. pont. al ord. al pont.
Va. sul pont.
ad lib. pont. al ord. al pont.
sul pont.
ad lib. pont. al ord. al pont.
Vc.
Cb.
136
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
with straight mute
1 Hn. in F
with straight mute
2
1 Tpt. in C 2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2
3
(muted hn., tbn.)
*
Synth.
Piano
Harp
M.A. (chant)
Beau.
The Revolution never happens! (pont. al ord. al pont.)
I Vn.
(pont. al ord. al pont.)
II (pont. al ord. al pont.)
Va. (pont. al ord. al pont.)
Vc. (pont. al ord. al pont.)
Cb. *Fast, irregular patterns, like morse code.
There is no guillotine!
A new age dawns!
Ma rie An toi nette lives!
137
54 = 60 1 Fl. 2
1 sub.
Ob. 2
sub.
1 Cl. in B 2
1 Bn. 2
1 Hn. in F
sub.
2 sub.
with straight mute
1 sub.
Tpt. in C
with straight mute
2 sub.
1 sub.
Tbn. 2
sub.
Timp.
1
Perc.
2
3
Synth.
sub.
Piano
Harp
M.A.
I
can not love.
Beau.
Love
me,
Your
Ma
jes
Louis: spoken (sarcastic)
ty!
Louis 3
(sul pont. al ord.)
= 60
I sub.
Vn.
(sul pont. al ord.)
II sub. (sul pont. al ord.)
Va. sub. (sul pont. al ord.)
Vc. sub. (sul pont. al ord.)
Cb. sub.
Be lieve her, Beau mar chais.
138
1 legatissimo
Fl. 2
legatissimo
1 Ob. 2
1 Cl. in B
legatissimo
2 legatissimo
1 legatissimo
Bn. 2
legatissimo
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Vib.
1
Glock.
Perc.
Pedal
2
3
Synth.
to Celesta
Piano
D
Harp
(Beaumarchais pours the necklace from one hand to the other.) M.A. shouting
sung
Beau.
I have the pow ers of a god. Louis
I Vn. II
Va.
Vc.
Cb.
Watch me!
Diamonds… I see diamonds… I see a room with many doors…
Dia monds…
139
1 Fl. 2 *
1 Ob.
*
2 *
1 Cl. in B
*
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2 (Vib.)
1 Trg.
Perc.
2 Sus. Cym.
3
(FLURRY)
Synth.
Celesta
E F GA DC B
Harp
(Beaumarchais turns his back to the audience and holds the diamond aloft.) M.A.
Beau.
Doors‌ Louis
I Vn. II
Va.
Vc.
Cb. *Use only the seven pitch classes of the scale indicated by the key signature.
Ma
gic!
140
1 Fl. 2
1 Ob. 2 *
1 Cl. in B
*
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Glock. l.v. sempre
l.v.
1
(Trg.)
Perc.
2 Bell Tree
3
Synth.
Celesta
l.v. sempre
Celesta
l.v. sempre 8va
Harp
brilliant
Beau.
I Vn. II
Va.
Vc.
Cb. *Use only the seven pitch classes of the scale indicated by the key signature.
Sus. Cym.
141
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 (Bell Tree)
3
Synth.
to Piano
Celesta
Harp
I Vn. II
*
Va. *
Vc.
*
Cb. *Use only the seven pitch classes of the scale indicated by the key signature.
142
55
Scene 1
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
( = ca. 180) Play unconducted, backstage or in orchestra 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Hn. in F
3
2
Tpt. in C
1
2 1 Tbn. 2
Timp.
( = ca. 180) Perc.
Play unconducted, backstage or in orchestra S.D. ad lib. march patterns.
1 2 3
3
3
3
(bn., cb.)
Synth.
Piano
Harp
(Beaumarchais lowers arms. The curtain opens again, revealing the same drawing room. But this time, Count Almaviva is kneeling in the middle of it, frozen position, holding aloft a diamond necklace identical to the one Beaumarchais was holding. Beaumarchias turns around. He has no necklace. (Soldiers are marching around the square. They can be seen through the drawing room window.)
(a cry of pain)
M.A.
Ah! spoken (begin after Horns and Snare Drum) Beau.
It is Paris… the autumn of ninety-three. Terror… Revolution… The king is dead. The Queen awaits her fate in prison.
(Louis goes to his wife’s side.) spoken
Louis
How can you be so cruel? You open old wounds! I Vn. II
Va. div. a4
Vc.
Cb.
143
56 (slow, 1/4 tone oscillation)
1 Fl.
(slow, 1/4 tone oscillation)
2
1 Ob. 2 (slow, 1/4 tone oscillation) ad lib.
1 Cl. in B 2
1 Bn. 2
(slow, 1/4 tone oscillation) 3
3
3
3
3
3
ad lib.
3
1 Hn. in F 2
3
1 Tpt. in C 2 open
take straight mute
open
take straight mute
1 Tbn. 2
Timp. (S.D.)
1
Perc.
2
3
Synth.
Piano
Harp
M.A.
Save me! Save me! spoken
I
want to
live!
(to Marie Antoinette)
Beau.
I can help her. Believe me. You have entrusted your diamonds to your old friend, the Spanish ambassador, Count Almaviva, a character from my first two operas. He has a plan to save you.
I Vn. II
Va.
Vc.
Cb.
My opera will save you, your Majestry. Let me tell you about my other char– acters. Almaviva’s wife,
144
57
Andante
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(We see an apparition of Rosina high above the stage. She is seated in a chair, weeping.) M.A. (Freely, do not line up with orchestra.) Beau.
Rosina!
For the last twenty years her husband has reserved her because— remember Almaviva’s young page Cherubino?
Andante I Vn. II div.
unis.
Va.
div.
unis.
Vc. pizz.
Cb.
arco
He and Rosina had a child…
145 *
Più mosso
= 92
solo
1 3
Fl.
3
3
**
2 3
3
1 Ob. 2 **
1 3
Cl. in B
3
**
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
M.A.
Beau.
Leon! *
And he has fallen in love with Florestine!
She is the Count’s offspring by a nameless woman of high rank.
Stesso tempo
I Vn. II
Va.
Vc.
Cb.
*Strings continue in same tempo. Woodwinds più mosso at = 92. **Continue playing the indicated pitches, alternating duplets and triplets ad lib., freely and asynchronously. The sound should be blurred and liquid.)
146
58 1
Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2 with straight mute
1 Hn. in F
with straight mute
2
with straight mute
1 Tpt. in C
with straight mute
2 with straight mute
1 Tbn.
with straight mute
2
Timp.
1
Perc.
2
3
(oboe, bassoon)
Synth.
Piano
Harp
M.A.
Beau.
Here’s the problem.
I Vn. II
Va.
Vc.
Cb.
Almaviva has never forgiven his wife’s infidelity—
And so he refuses to give his consent to the marriage of his daughter and her son.
Instead, Almaviva has promised his daughter to his best friend… our villain
147 = 144
Vuota
1 Fl. 2
1 Ob. 2
1 Cl. in B 2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 open
1 Tbn.
open
2
Timp.
1
Perc.
2 B.D.
3
Synth.
Piano
Piano
Harp
Beau.
Patrick Honoré Bégearss!
To complete the cast, Figaro and Su– Louis: (interrupting)
Louis
= 144
div. a3 *
I Vn.
div. a3 *
II div. *
Va. div. *
Vc. div. *
Cb. *Ad lib. crescendos and diminuendos.
Get on with it Beaumarchais! I never could follow the last act of The Marriage of Figaro— and this is even worse! Vuota
148
59 1
Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(HARPSICHORD until 64 )
Synth.
Piano
Harp
Count Almaviva: (chant) Almaviva 8
O, heavenly Father, hear my vow: On my life I promise to set free Thy persecuted daughter.
1 solo
I Vn. II 1 sola
Va. 3 soli, div.
Vc. 1 solo
Cb.
Ma rie An
toi nette
of
France‌
149
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Almaviva 8
And if it be Thy will, O Lord, I shall sell these jewels
(1 solo)
I Vn. II (1 sola)
Va.
(3 soli, div. a3)
Vc. (1 solo)
Cb.
to the English am bassador
at
the
reception
of
the Turk ish
em bas sy
150
60
Slow, like a gregorian chant
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
Susanna
Almaviva 8
And,
with the one million pounds, grant her Majesty a safe refuge in the New World.
A
ve Ma
ri
a,
gra tia ple
Figaro
(1 solo)
Slow, like a gregorian chant
I Vn.
legato
II (1 sola)
Va. legato (3 soli, div. a3) unis.
Vc. legato 2 soli, div. arco
Cb. pizz.
legato
na.
Be
ne dic tus
151 * 1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
2
Perc.
3
(Hpschd. unto 64 )
Synth.
Piano
Harp
(Count Almaviva hides the jewels in his pocket.) Susanna
and Su san spoken
(interrupted)
na. whisper, aside
sung
Almaviva 8
fruc
tus
ven
tris
Tu
us
Those two. They mustn’t see the jewels.
Who is it? (Allegro
= 144)
(knocking on door, interrupting chant) Figaro
Fi ga ro * I Vn. II
Va. div. a3
Vc.
Cb.
*Stop orchestra when knock interrupts Almaviva. The Stage Door Knocking may begin before the 6/4 bar.
One
mo
ment.
152
61
= 72
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
3
Synth.
A
Harp
(Count Almaviva opens the door. Figaro and Susanna enter with mops, dusters, etc.)
3
D G A
(Figaro and Susanna quickly search the room while pretending to clean. Susanna spies the necklace sticking out of Count Almaviva’s pocket, and…)
3
Susanna 3
Ti dy and clean, neat asa pin.
3
We won’t be a min ute.
Almaviva 8
Figaro
3 3
= 72
3
3
Just clean ing the room,mas ter.
We won’t be a min ute.
(1 solo)
I Vn. II (1 sola)
Va. arco
pizz.
1
Vc.
(arco)
arco
2 3 pizz. pizz. (1 solo)
Cb.
(pizz.) arco
153
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
2
Perc.
3
Synth.
Harp
sing
(snatches the necklace.) (Almaviva snatches it back.) Susanna
What’s this?
and de
(recitative) Almaviva 3
8
None of yourbus’ ness!
Figaro 3
Se crets fromyour loy
(1 solo)
I Vn. II (1 sola)
Va. tutti arco 1
div. 1 solo
Vc. 2 1, arco
Cb.
div.
al Fi ga ro.
154
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
3
3
3
6
Susanna
vo ted Su san na?
For the love of God for give your wife.
Almaviva 8
3
3
De vo ted and loy al to Ro
si na and her son.
3
I’ll nev er for give
3
that wo man.
Figaro 6
And for give her son. Let him I Vn. II
Va.
Vc.
Cb.
155
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
3
3
Susanna 6
My la dy has al rea dy giv en her per
mis sion. 3
Almaviva 3
8
How Figaro
3 3
mar ry your daugh ter. I Vn. II
Va.
Vc.
Cb.
dare she?
3
Flo res tine will mar ry
Bé gearss. He’s the on
ly
man
I
156
62 1
Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Susanna
Almaviva 8
trust.
6
Mind your place!
Don’t be ab surd!
Figaro 6
(1 solo)
But mas ter,
I Vn. II (1 sola)
Va. div. a3
Vc. slow, quarter-tone vibrato 2 soli
Cb.
slow, quarter-tone vibrato
6
6
he on ly pre tends to be your friend.
6
He’s
a
spy
6
for the re vo lu tion ar ies.
157
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth. 3
Harp
3
(Count Almaviva puts his hands over his ears.) Susanna
Almaviva 8
3
3
I don’t
Figaro
be lieve
you!
I
won’t
lis
ten!
6
I caught his
ser vant search ing your room…
read ing your
let
ters.
(1 solo)
I Vn. II (1 sola)
Va.
(div. a3)
Vc. 3
(2 soli)
Cb.
3
158
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
Susanna (tratt.)
Almaviva 3
8
This time you’ve gone too far!
I
dis
Figaro
Where
did you get
that
neck lace?
(1 solo)
sul ponticello
(1 sola)
sul ponticello
(div. a3)
sul ponticello
I Vn. II
Va.
Vc. div., sul ponticello (2 soli)
Cb.
miss
you,
Fi
ga
ro.
159
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
(Exit Count Almaviva) Susanna (in time) 3
(tratt.)
3
Almaviva 6
8
Leave at once!
You will
o
bey!
My wife will o bey!
3
I’m
still king
in
this house!
Figaro
ord. (1 sola)
I Vn. II ord. (1 sola)
Va.
ord. (div. 3)
Vc.
ord. (div.)
Cb.
1 solo
160
63 1
Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
l.v. sempre Harp
(crying out after Almaviva, and then to Figaro) 3
Susanna
Louis:
Stubborn! Oh, Figaro, what are we going to do? We’ll starve…
What’s the world com ing to?
Louis
I said the very same words.
(Figaro tapping his head)
Figaro
Not so long as I have my wits.
I Vn. II (1 sola)
Va. (1 solo)
Vc.
Cb.
Mas ter sneaks a round with sto
len
161
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
6
Synth.
6
Piano
Harp
Susanna
jewels; Figaro
I Vn. II
Va.
Vc.
Cb.
our
mis
tress cries
all
day.
162
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
*
Piano
D EFG A
Harp
*
3
Susanna
And
out
side,
Par is has gone
mad:
a
king has lost his
head;
the
Queen
Figaro
I Vn. II (1 sola)
Va.
(div. a3)
Vc. dolce pizz. (div.)
arco
Cb. dolce *Play legato as fast as possible between and including the indicated pitches. Avoid patterns or scales.
163
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
legatissimo Susanna
lan guish
es
in
jail.
I
am
fright ened for sim ple folk like
us.
Louis tenderly Figaro
Su 1 solo
I Vn. II 1 sola
Va.
Vc. 1 solo
Cb.
san
na,
Su
san
na,
at
164 *
= 144
1 Fl. 2
1 Ob. 2
Cl. in B
1
Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 (open)
1
Tbn.
(open)
2
Timp.
1 2 Perc.
B.D.
3
= 72 Synth.
Piano
Harp
(Figaro and Susanna hear the approach of Wilhelm and BĂŠgearss.)
= 72
Susanna
BĂŠg earss and his ser
vant
Wil molto
(offstage) 3
Wilhelm
Ouch!
Ooh!
Argh!
Ow!
= 72 Figaro
least
we have each
oth
er. *
= 144
I Vn. II
Va.
Vc.
Cb. *Do not align Susanna, Figaro, and the Harpsichord (Synthesizer) with Wilhelm and the rest of the Orchestra.
3
3
But who is that com ing?
Yeow!
3
No, No, No, No, No!
helm
165 *
1 Fl.
*
2 *
1 Ob.
*
2 * Cl. in B
1 *
Cl. in A *
1 Bn.
*
2 *
1 Hn. in F
*
2 *
1 Tpt. in C
*
2 *
1 Tbn.
*
2 *
Timp. *
1 *
Perc.
2 *
3
Synth.
*
Piano
*
Harp
(They hide.) 3
Susanna
He’s al ways beat ing him. *
cresc. (coming closer)
Wilhelm 3
Figaro 3
Mi ser able man. *
I Vn.
*
II *
Va. *
Vc. *
Cb. *Repeat until cutoff.
3
Let’s hide
and see what we can learn.
Come, Su
san
na.
(Bégearss and Wilhelm appear.)
166
64
= 144
Faster
= 156
1 Fl.
to Piccolo
2
1 Ob. 2
Cl. in B
1
Clarinet in A Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 B.D.
3
(brass ensemble)
Synth.
Piano
(Bégearss beats Wilhelm. Wilhelm cringes.) Wilhelm sung
Bègearss: spoken Bégearss 8
3
3
Fool!
= 144
I di ot!
Mo ron!
You
Faster
= 156
tutti
I savage
Vn.
tutti
II savage
tutti
Va. tutti
Vc. savage tutti
Cb. savage
savage
3
3
3
for got when Al ma vi va plans to sell the jewels?
167
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1
to Clarinet in B Cl. in A
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 *
1 Tbn.
*
2
Timp.
1
Perc.
2 B.D.
3
Synth.
Piano
Harp
Wilhelm: spoken
(BĂŠgearss kicks Wilhelm.)
Wilhelm
I read the letter, but then that Figaro came in and scared it out of me! (kick)
(kick)
BĂŠgearss 8
How could you?
I Vn. II
Va.
Vc.
Cb. *Two different pedal tones, brassy.
When?
Where?
168 lunga Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 take straight mute
1 Tbn.
take straight mute
2
Timp. Xyl.
1
Perc.
2
3
Synth.
Piano
Harp
lunga Wilhelm screaming
(hit)
(hit)
(hit)
(hit)
(hit)
lunga
BĂŠgearss 3
8
div.
I Vn. div.
II
div.
Va.
Vc.
Cb.
3
I need
3
to know
3
so
I can ex
pose
3
the plot
3
3
to save
the Queen.
Think,
3
you i
di ot, Think!
3
3
Think!
3
Think!
3
Think! lunga
65
169 a tempo ( = 156)
accel.
Slower Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2 fltg. with straight mute
1 Tpt. in C
with straight mute
fltg.
2
fltg. with straight mute
1 fltg.
Tbn. with straight mute
2
Timp.
1 Ratchet
Perc.
2 B.D.
3
Piano
Harp
Wilhelm 3
Uh…
Uh…
3
I can’t.
3
I’m sor ry.
3
3
3
I’m sor ry I can’t.
3
3
3
3
3
I’m sor ry, I’m sor ry,I’m sor ry, I can’t. screeching 2 Ghosts (from three chattering women):
2 Sop. Ghosts
Think!
a tempo Slower I Vn. II
Va.
Vc.
Cb.
accel.
( = 156)
170 = 156
Piccolo
Picc.
Fl.
1
Ob.
1 2
Cl. in B
1 2
Bn.
1 2
Hn. in F
1 2
1.
fltg.
ord.
1 Tpt. in C
fltg.
2
fltg.
remove mute
1 Tbn.
fltg.
ord.
fltg.
2 Crot.
Xyl.
Crot.
Xyl.
1 (Ratch.)
Perc.
2 T. Blks.
3 3
3 8va
3
Piano
E F B C D
Harp
(Wilhelm growls.) Wilhelm
I
can’t!
Sor
screeching
ry…
S
Ghosts
Think!
Think!
Think!
screeching
S
Think!
Think!
Think! 3
A
I
di
ot
i
di
ot
S Quartet of Ghosts
3
Can’t
3
Hit ’im Hit ’im
Hit
A 3
Sor
ry!
3
Guil
ty
T 8
Hit ’im.
B 3
div.
Sor
3
ry
He
can’t.
= 156 * I * div.
Vn. II
* div.
Va.
0
div. a4
Vc.
Cb. *Very slow quarter-tone oscillations. Each player is asynchronous.
’im
171 rall. poco a poco to Flute
Picc.
Fl.
1
1 Ob. 2
Cl. in B
1 2
Bn.
1 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn.
remove mute
2
Timp. (Crot.)
1 poss.
Perc.
2 (T. Blks.)
3
Piano
loco
Harp
(Beaumarchais offers Marie Antoinette a cushion…) M.A. 3
Shhhhh!
Im
be ciles!
S
Quartet of Ghosts
Sor
3
ry
can’t
Shhh! (giggles)
3
A
Can’t
Shhh! (giggles)
T 3
8
Sor B 3
Sor (div.)
ry.
rall. poco a poco
I (div.)
Vn.
dim. poco a poco
II metá
dim. poco a poco
Va. dim. poco a poco
Vc.
Cb.
ry…
172 (rall.) 1 Fl.
Flute
2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Marie Antoinette smiles at him.) Wilhelm
Forgive me master… I beg you…
What can I do?
Bégearss 8
What can you do? What can you do?…
(rall.) (div.)
I (div.)
Vn. II
(metá)
Va.
Vc.
Cb.
…what you’re good for:
Adagio
= 60–66
66
173
Recitative and Aria
1 Fl. 2
1 Ob. 2 *
1 Cl. in B
*
2 *
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2 open
1 Tbn.
open
2
Timp.
1
Perc.
2 B.D.
3
(contrabass)
Synth.
Piano
Harp
(Bégearss sits.)
(Bégearss smiles malevolently.)
slow, menacing
Bégearss 8
Polish my boots… and keep thinking!…
Adagio
I can’t wait to When they ar rest him, betray Almaviva.
= 60–66
(div.)
I (dim.)
Vn.
(div.)
II (dim.) (metá)
tutti, div. a4 (half-tone cluster, free bows)
Va. (dim.)
tutti sul ponticello
Vc.
sul ponticello
Cb. *Ad lib., chromatic figures slowly rising or falling in pitch to next indicated boxed notes.
3
I’ll make him crawl to me
3
3
3
on his hands and knees like a dog.
174 Adagio *
1 Fl. 2
1 Ob. 2 *
1 Cl. in B
*
2 *
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Bégearss pats Wilhelm’s head.) Bégearss 8
Good boy!
But
I’ll
send him
to
the
scaf
fold
an
y
way!
Adagio I Vn. II gliss.
gliss.
gliss.
Va. (div.)
unis., ord.
Vc. ord.
Cb. *Ad lib., chromatic figures slowly rising or falling in pitch to next indicated boxed notes.
175 Adagio
accel. motion poco a poco
1 Fl. 2
1 Ob. 2 accel. motion poco a poco
1 Cl. in B
accel. motion poco a poco
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Bégearss chuckles.) (Bégearss luaghs) 3
3
Bégearss 8
3
And then!
3
I’ll make the Coun tess my maid.
Yes!! (chuckles) And
if she does n’t like that,
I’ll send her to the cart al
so.
Adagio I Vn. II
Va.
Vc.
Cb.
176
67 1 (fast)
Fl.
molto
2
1 Ob. 2
1 Cl. in B
(fast)
molto
2 (fast)
molto
1 Bn. 2
1 Hn. in F
molto
2 molto
1 Tpt. in C
molto
2 molto
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
molto
(lunga) BĂŠgearss 8
3
And
LĂŠon
will
be
my
page,
as
his
fa
ther
was
to
the
Count.
And
I Vn. II
Va. molto
Vc.
Cb.
177 = 92 1
3
3
3
3
3
3
3
3
3
3
Fl. 2
1
3
3
3
Ob. 2
3
3
1 3
Cl. in B
3
3 3
3
3
3
3
3
3
2
1
3
3
3
Bn.
3 3
3 3
3
2 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. 3
3
1
Perc.
2
3 (hns., w.ws., stgs.) 3
Synth.
Piano
Harp
dolce BĂŠgearss 8
Flo res
tine,
my won drous
Flo res
tine,
will be
my
mis tress,
my
wife,
my
slave.
unis.
I 3
3
3
3
3
3
3
div.
Vn.
3
3
3
II
Va. 3
Vc.
Cb.
3
3
3
3
3
3
178
68 1 3
Fl. 2 3
1 3
Ob. 2
3 3
3
slow, even ritard., ignoring conductor
1 3 3
Cl. in B
2
1 3
Bn.
to Contrabassoon
3
2 3
3
1 Hn. in F
3
3
3
3
3
3
3
3
2
1 Tpt. in C
3 3
2
1 3 3
Tbn. 2
Timp.
1
Perc.
2
3 (tutti)
(HARPSICHORD)
3
Synth.
ad lib. patterns on indicated pitches
3
legato, blurred
Piano
l.v. sempre
Harp
ad lib. patterns on indicated pitches
legato, blurred
Florestine: Florestine (We see Florestine as in Bégearss’ imagination. She is elevated, and behind a scrim, dressed in white, radiantly beautiful. She is reading back a letter she has just written. She holds a quill in her hand.)
Come to me my love. Come Continue in time, ignoring conductor
Bégearss 3
8
Flo
res tine will be my
love,
my
love,
my love,
my
love,
my love, my love, my love, my love, my love… Continue in time, ignoring conductor
I Vn.
unis.
II
Va.
Vc.
Cb.
Continue in time, ignoring conductor
179
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
ad lib. patterns on the indicated pitches
legato, blurred
Synth.
Piano
Harp
Florestine
to
I Vn. II
Va.
Vc.
Cb.
me,
my
love.
I
am yours.
Your
mis
tress,
your
wife,
your
180
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3 sim.
sub.
Synth.
sim.
Piano
sub.
Harp
(Bégearss rises abruptly and kicks Wilhelm out of the way. The vision fades immediately.) Florestine
slave!
Oh,
Lé on,
Lé on,
Oh Lé on, Lé on,
Ah
Ah
Ah
Bégearss: (imitating Florestine with pitched falsetto singing) shouting Bégearss 8
I Vn. II
Va.
Vc.
Cb.
Lé on?
Lé on?
LÉ ON? Out of my way! Out of my way!
Léon and Florestine?
69
181 Adagio
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
Bn.
1 3
Contrabassoon
to Bassoon
3
Cbn.
1 3
Hn. in F
3
2
1 Tpt. in C 2
1 3
Tbn.
3
2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
poss. Bégearss 8
What about me… Patrick Honoré Bégearss? It’s true: I’m low, base, vile.
ME!
But don’t they know the king of beasts…
Adagio *
I Vn.
*
II 3
*
3
*
3
*
Va.
Vc.
Cb.
*Stand by stand, players change from A to G, ending at the downbeat of rehearsal 70. The change should be legato, non-portamento and asynchronous.
is the
182
70
Aria of the Worm Largo pomposo
= 60
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
2
1
6
6
6
6
6
6
6
6
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(WORM SOUND)
(slow phase shift throught aria)
Synth.
Piano
Harp
During the following aria, Wilhelm tries to remember the contents of the letter. Near the end he does remember and tries to signal BĂŠgearss who is too busy singing to notice.) BĂŠgearss 8
worm?
Largo pomposo
= 60
(tutti)
I Vn.
div. 6
6
6
6
6
6
6
II
Va. *
Vc. *
Cb. *As before, continue stand by stand, but in the time value indicated. (Changes will be quicker, and some portamento may be used.)
6
6
6
6
6
183 6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
1 Cl. in B
6
2
1
6
6
6
6
6
6
6
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 8
I Vn.
(div.) 6
II
Va.
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
184
71 1 6
Fl.
6
6 6
6
6 6
6
2
1 6
6
6
6
Ob. 6
6
6
6
2 6
6
6
6
6
6
6
6
6
6
1 Cl. in B
6
6
6 6
6
sub.
6
2
1
6
6
6
6
6
Bn.
6
6
6
6
6
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2 B.D., deep
3
Synth.
sub.
Piano
Harp
BĂŠgearss 8
Oh,
the
li
on
may
roar
I (div.) 6
Vn.
6
6
6
II div.
Va. 6
Vc. sub.
Cb. sub.
6
6
6
6
6
185
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
2
6
6
1 6
Bn.
6
6
6
6
6
6
6
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 8
3
rh,
And the
ea
gle
may
soar,
And
man
may
I Vn. II (div.)
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
186
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
6
6
2
1
6
6
6
6
Bn.
Bassoon
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(brass)
Synth.
Piano
Harp
Bégearss 8
sail
the
dark
est
sea,…
But
I Vn. II (div.)
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
6
6
the
187
72 1 sub.
Fl. 2
sub.
1 Ob. 2 6
6
6
6
6
6
1 Cl. in B
sub.
2 sub.
1 sub.
Bn.
6
6
2 sub.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. sub.
1
Perc.
2
3
Synth.
Piano
Harp
sub. BĂŠgearss 8
wa hurm
lives on
e
ter
nal ly.
Long
live
the
worm.
I Vn.
unis.
div. 6
II (div.)
sub.
Va.
Vc. sub.
Cb. sub.
6
6
6
188
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
2
6
6
1 6
Bn.
6
6
6
6
6
6
6
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
3
Bégearss 8
3
3
Cut him in two,
Each part ’ll
re new;
I Vn.
(div.) 6
II
Va.
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
189
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
6
6
6
6
6
6
2
1 6
6
6
6
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 3
3
8
3
Slice him to bits,
The
3
3
worm
per
sists.
He
still
3
crawls on,
Scales
I Vn.
(div.)
II
Va.
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
6
190
1
3
2
3
Fl.
1 3
Ob.
3
3
3 3
3
3 3
3
3 3
3
3
3
3
3
2 6
6
1 6
Cl. in B 6
6
6
6
6
6 6
6
3 3 3
6
3
3
3
3
3
3
3
2
1
6
6
6
6
3
3
3
3
3
3
3
3
3
3
Bn. 2 3
3
3
3
3
3
3
3
3
1 Hn. in F 2
1 Tpt. in C
3
3
3
3
2 3
1 3
Tbn. 3
3 3
3
2
Timp. 3
3
3
3
1
Perc.
2
3
(woodwinds)
(+brass)
(W.W. + BRASS)
Synth.
Piano
Harp
BĂŠgearss 3
3
8
walls
on,sheerwill
3
and
3
Bur rows
burn ing
sand.
I (div.) 6
Vn.
6
6
6
II 6
Va.
Vc.
Cb.
6
6
6
(d)
191
(optional)
VI-
73
1 Fl. 2
1 Ob. 2
6
6
6
6
6
6
1 Cl. in B
2
1 sub.
Bn.
6
6
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3 (WORM SOUND)
Synth.
Piano
Harp
BĂŠgearss 8
Long
live
the
worm.
VI-
non div.
I
Vn.
non div. div.
II non div.
sub. div.
6
6
6
6
6
6
6
6
div.
Va. sub.
Vc. sub.
Cb. sub.
192
1 Fl.
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
2 6
6
6
6
1 6
Ob.
6
2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
2
6
1
6
6
6
6
6
6
6
6
6
6
6
6
6
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
3
3
Bégearss 8
He tra vels on
by
The
poor
man’s
sty,
I Vn.
(div.)
II (div.)
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Va.
Vc.
Cb.
193
1
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Fl. 2
1
6
6
6
6
6
6
6
6
6
6
6
6
Ob. 2 6
6
6
6
6
6
6
6
6
6
6 6
6
6
6
6 6
6
1 Cl. in B
6
6
2
1 6
6
6
6
6
6
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 8
3
3
Gro vel ing past
the
roy
al
pa
lace,
And
en
ters the
I (div.)
Vn. II
(div.)
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Va.
Vc.
Cb.
194
-DE 1
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Fl. 2
1
6
6
6
6
6
6
6
6
6
6
Ob. 2 6
6
6
6
1 Cl. in B 6
6
6
6
6
6
2
1
6
6
6
6
6
6
6
6
6
6
Bn. 2
6
6
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 3 8
cof
fin
Of
the
red
haired
dau
6
div.
phin.
6
6
Long
-DE
6
I 6
6
6
6
6
6
(div.)
Vn. II
6
6
6
6
6
6
6
6
6
6
6
6
(div.)
Va.
Vc.
Cb.
live
the
195
74 1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
2
6
6
1 6
Bn.
6
6
6
6
6
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. Wind machine (thunder), ad lib.
1
Perc.
2
3
(wind effect, ad lib.)
(WORM SOUND)
Synth.
Piano
Harp
BĂŠgearss 8
worm.
The
(div.)
unis.
(div.)
unis.
wind
whis
tles.
I Vn. II (div.)
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
196
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
2
6
6
1 6
Bn.
6
6
6
6
6
6
6
2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 3
8
And the
3
storm
bris tles.
And
I Vn. II
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
197
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
6
6
2
1 6
Bn.
6
6
6
6
6
2
1 Hn. in F
molto legato
2
1 Tpt. in C 2
1 Tbn.
quasi gliss.
2 molto legato
Timp. (Wind Machine)
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 3
8
mud
cov
ers
the ground.
The div.
I Vn. II (div.)
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
198
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
6
2
6
6
6
1 6
Bn.
6
6
6
6
6
6
6
6
2
1 Hn. in F 2 molto legato
1 Tpt. in C 2 quasi gliss.
1 molto legato
Tbn. 2
Timp. (Wind Machine)
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 8
worm
3
wan
3
ders
round
and
round
Morn
ing
and
night,
I Vn. II (div.)
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
6
6
199 6
6
6
6
6
6
6
6
6
6
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
6
1 Cl. in B
6
6
6
2
1 Bn. 2
1 Hn. in F
legato
2
1 Tpt. in C
molto legato
2 molto legato
1 Tbn. 2
Timp. (Wind Machine)
1
Perc.
2
3
Synth.
Piano
Harp
3
3
BĂŠgearss 8
3
Hid den from
sight,
Ov
er
moun
tain
and
shore,
unis.
I Vn. II (div.)
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
200 6
6
1 6
Fl.
6
6
2
1 Ob. 2 6
6
6
6
6
6
6
6
1 Cl. in B
6
6
6
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. (Wind Machine)
1
Perc.
2
3
Synth.
Piano
Harp
5
BĂŠgearss 8
3
Want
ing
more
and
more,
De vour ing
I Vn. II (div.)
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
201 stringendo 6
6
6
6
6
6
1 cresc.
Fl. 2
1 cresc., molto legato
Ob. 2
cresc., molto legato 6
6
6
6
6
6
6
6
1 Cl. in B
cresc. 6
6
2 cresc.
cresc.
1 cresc.
Bn. 2
cresc.
1 Hn. in F 2
1 Tpt. in C 2
1 cresc.
Tbn. 2 cresc.
Timp. (Wind Machine)
1
Perc.
2
3
Synth.
cresc.
Piano
Harp
BĂŠgearss 8
3
ci
3
ty
and
plain,
En
dur
ing
snow
and
stringendo I cresc.
Vn. II
cresc. (div.)
Va. cresc.
Vc. cresc.
Cb. cresc.
6
6
6
6
6
6
6
6
202
75
Slightly Faster rall. poco a poco
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Hn. in F
3
3
2
1 3
Tpt. in C
3
2
1
3
3
3
3
3
3
Tbn. 2 3
Timp.
1
Perc.
2
3 (THUNDER)
Synth.
Piano
Harp
BĂŠgearss 8
rain.
Long
live
the
worm!
Slightly Faster
rall. poco a poco
I Vn.
div.
non div.
(non div.)
(non div.)
II (div.)
Va. div. a2
Vc. div.
Cb.
203
76 Tempo I
(rall.)
= 60
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
6
1 Cl. in B
2
1
6
6
3
3
6
6
6
6
Bn. 2
3
3
3
3
3
3
3
3
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(WORM SOUND)
Synth.
Piano
Harp
BĂŠgearss 8
Oh,
(rall.)
Tempo I
the
li
on
dies,
= 60
I Vn. II (div.)
Va. 6
(div.)
unis.
(div.)
unis.
Vc.
Cb.
6
6
6
6
6
6
6
204
1 Fl. 2
1 Ob. 2 6
6
6
6
6
6
6
6
6
1
6
Cl. in B 6
2
6
6
6
6
6
6
6 6
1
6
6
6
6
6
6
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Bégearss 8
3
The
ea
gle
3
dies,
And man…
man
I div.
Vn. II
6
unis.
(div.)
Va. 6
Vc.
Cb.
6
6
6
6
6
6
6
6
6
6
6
205 stringendo 1
6
6
6
6
6
6
6
6
6
6
6
6
Fl. 2
1 6
6
6
6
6
6
6
6
Ob. 2
1 Cl. in B
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
2
1
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Bn. 2
6
6
6
6
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
BĂŠgearss 8
dies,
man
dies,
man
dies,
stringendo I (div.)
Vn. II
6
6
6
non div. 6
6
6
6
6
6
non div.
6 6
non div. 6
6
6
Va. 6
6 6
Vc.
Cb.
6
6
6
206 (a tempo) 1 sub.
Fl. 2 sub.
1 3
Ob. 2
3
1 Cl. in B
sub.
3
sub.
3
2
1 3
Bn. 2
3 3
1 Hn. in F
3
2
1 Tpt. in C
3
2 3
1 3
Tbn. 2
3
Timp.
1
Perc.
2
3
(w.w., brass)
Synth.
Harp
ossia:
8
dies, dies, quasi cadenza
sub.
(maniacal laughter)
BĂŠgearss 3
8
But the wa hurm lives on
(a tempo)
e
ter
nal ly.
Long
live
the
worm!
div. a3 unis.
3
I (div.)
Vn.
sub. unis.
3
II sub.
(non div.)
Va. 3
sub. div. a3
Vc. 3
Cb. 3
sub.
unis.
207
77 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3 (HARPSICHORD)
Synth.
Piano
Harp
Wilhelm:
…I remember, Master, I remember! The reception at the Turkish Embassy!
(Susanna and Figaro look alarmed.)
(They grow more and more excited as (Wilhelm grovels at Bégearss’ feet, they realize what Bégearss is planning.) kissing them.)
Thnak you, Master, thank you.
Tonight! Almaviva’s going to sell the jewels tonight to the English Ambassador!
Bégearss 8
Good boy. Good boy. 1 solo, pizz.
1 solo, arco
I Vn. II 1 sola, arco
Va. 3 soli
1.
Vc. 2. 2 soli, div., 1. arco, 2. pizz.
Cb.
3.
208
78 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3 3 3 3 3
Synth. 3 3
3
3
Harp
(Bégearss pets Wilhelm, who starts to look puzzled.) Wilhelm …or was it the Turkish Ambassador at the English Embassy? Susanna 3
We mustwarn thecount. Figaro 3
(1., solo)
3
He’ll nev er be lieveus.
I Vn. II (1., sola)
Va. arco
1 2
pizz.
Vc. 3 2 soli (div.)
(arco)
Cb. pizz.
No, it definitely
209
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. 1 2 3
Perc.
3
3
Synth.
3
3 3
3
Harp
(Bégearss starts to chuckle. This grows to short bursts of laughter.) Wilhelm
was the Turkish Embassy, and the English… or was he Spanish?…
sub.
Susanna 3
What willwe do?
3
All is lost!
Bégearss 8
Enough! I know which one!!
(chuckles, turning into laughter)
Figaro (1., solo)
I Vn. II (1., sola)
Va. (div.) a2
1 2 (pizz.)
Vc. 3 (2 soli, div.)
Cb.
arco
div.
210
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. 1 2 3
Perc.
Synth.
Piano
Harp
(Figaro and Susanna sneak out.) Susanna
BĂŠgearss 8
(laughter)
Figaro
3 3
As long as (1., solo)
I have my
head
I’ll
3
nev er give up!
3
3
Come, Su san na,
I have an i dea!
tutti, non div. 0
I Vn.
tutti, non div.
II
(1., sola)
tutti, non div.
Va. (3 soli, div. a3)
tutti, div. a4
Vc. (2 soli, div.)
tutti, div. a3
Cb. 0
211
79
= 60
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
(optional: with straight mute)
1 Hn. in F
(optional: with straight mute)
2 (optional: with straight mute)
1 Tpt. in C
(optional: with straight mute)
2 (optional: with straight mute)
1 Tbn.
(optional: with straight mute)
2
Timp.
1
Perc.
2
3
(brass)
Synth.
Piano
Harp
possibile BĂŠgearss 3
8
Ha!
3
I
have
him
now!
Now
I
have them
all!
And
= 60 I Vn.
div.
II div.
Va. div.
Vc.
Cb.
Flo
res tine
will
212 Vivace
= 124
1 Fl. 2
1 secco
Ob. 2
secco
1 secco
Cl. in B
2 secco
1 Bn. 2 (open)
1 Hn. in F
secco (open)
2 secco (open)
1 Tpt. in C
(open)
2 (open)
1 secco (open)
Tbn. 2
secco
Timp.
Perc.
1 2 3
Synth.
Harp
shouts
(They exit.)
Bégearss 8
mar
ry me…
…or Dr. Guillotine.
Vivace non div.
I non div.
Vn. II
non div.
Va.
non div.
Vc.
Cb.
= 124
Come, Wilhelm.
a2
Fl.
1 2
Ob.
1 2
Scene 2
213
80 Adagio
= 56
a2
1 dolce
Cl. in B
2
Bn.
1 2
Hn. in F
1 2
take straight mute
take harmon mute
1 Tpt. in C
take harmon mute
2
1 Tbn. 2
Timp. 1 2 3
Perc.
l.v.
l.v.
E
Harp
(freely) Marie Antoinette:
free
M.A.
Poor
Woman with Hat:
Flo res tine.
I
pi
ty her.
She is
so
young.
W. w/ H.
Oh, what a terrible man! (variously, asychronously)
S
Rogue! Villain! Murderer! etc. Opera Quartet
(variously, asychronously)
A
Rogue! Villain! Murderer! etc. (variously, asychronously)
T 8
Rogue! Villain! Murderer! etc. (variously, asychronously)
B
Rogue! Villain! Murderer! etc.
Adagio
= 56
div.
div. a3
1-3
Vn. I
div.
div. a3
4-6 div.
unis.
div.
unis.
1-3 Vn. II 4-6
Va. non div. div. a4
Vc.
Cb.
214 = 60 *
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(slow and free, ignore conductor) M.A.
When
I
first
came
to
France
I
was
on
ly
four
teen. Beaumarchais: (overlapping Marie Antoinette)
Beau.
It was May. There were parades in Lorrain. Remember?
= 60
al sord.
I Vn.
(div.)
con sord.
al sord.
II
mettere sord.
div., con sord.
div. a4
Va. legatissimo
Vc.
Cb. *Do not align with voice.
div. a3
div. a4
div. a3
215
81 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
M.A.
I
re mem ber
I
was lone
ly
I
re mem ber
I
was fright
ened.
(still encouraging, warm)
(boldly)
warmly
Beau. Ribbons in the trees of Compiègne. Remember?
Fireworks at Versailles. Oh, how the people
I 5 soli, div., con sord.
unis.
Vn.
al sord.
II div. a3 al sord.
Va. al sord.
Vc.
Cb.
216
82
= 60 1 3
Fl.
3
2
1 dolce
Ob. 2
1 Cl. in B
2
1 Bn. 2 with straight mute
1 Hn. in F
with straight mute
2
with harmon mute
1 Tpt. in C
with harmon mute
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
slow, free
faster
M.A.
I
was
such
a
home sick
lit
tle girl.
Poor Flores tine.
Don’t let him
mar ry her!
Beau.
Don’t be
= 60 div. via sord.
I Vn.
div. a6
II
Va.
Vc.
Cb.
tutti
via sord.
217
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2 remove mute
1 Tpt. in C 2
1 Tbn. 2
Timp. bend
Vib., bowed
1
Perc.
2 B.D.
3 bend
(white sound)
Synth.
Piano
Harp
Beau.
afraid, Your Majesty, I won’t let that happen. And Almaviva and Figaro will foil Bégearss and bring you to the New World.
…and I’ll be there to amuse you… just the two of us.
Louis: (to Beaumarchais)
Louis
The two of you? This time you go too far! div., senza sord.
I Vn.
div., senza sord.
II
Va.
Vc.
Cb.
1 solo gliss.
I
warned
218
83 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 legato
Bn. 2
legato
1 Hn. in F
legato
2 legato
open
take harmon mute (if time allows)
with harmon mute (if time allows)
1 Tpt. in C
molto open
take harmon mute
2
1 Tbn. 2
Timp.
Perc.
(B.D.)
1 2 3
cresc.
Harp
(Louis’ hand goes to his sword.)
(Marie Antoinette puts her hand over Louis’.) Marie Antoinette:
M.A.
Don’t be absurd! Louis
you.
De fend
your self!
How
dare he! (variously, asynchronously)
S
Opera Quartet
Dare he! Dare he! …Let them (variously, asynchronously)
A
Dare he! Dare he! …Let them (Marie Antoinette makes a disdainful face.)
(variously, asynchronously)
T 8
Dare he! Dare he! …Let them (variously, asynchronously)
B
Dare he! Dare he! …Let them
I Vn. II
Va.
Vc.
Cb.
219 Allegro 1 legatissimo
Fl. 2
legatissimo
1 Ob. 2
1 Cl. in B
legatissimo
2 legatissimo
1 Bn. 2
1 Hn. in F
take straight mute
2 (with harmon mute) take straight mute
1 legato
Tpt. in C
(with harmon mute) take straight mute
2 legato
1 Tbn. 2
Timp.
Perc.
1 2 3 (HARPSICHORD)
Synth.
(to Beaumarchais, silencing the Ghosts)
(Beaumarchais leaps onto (He blows her a kiss.) apron of little stage. He opens (Louis stamps his foot.) the curtains.)
M.A.
Do something, Beaumarchais. Beau.
New scene: They say New York Rosina’s boudoir. is a lively town‌
Louis:
Louis
Af
Opera Quartet
S
fight! A
fight! T 8
fight!
B
fight!
Allegro sul ponticello
I sul ponticello
Vn. II
Va.
Vc.
Cb.
ter
all,
she
is
my wife!
220
84
Scene 3 (Allegro)
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
(The curtain to the little stage rises. We are in Rosina’s boudoir. Beaumarchais leaves the apron.)
(to Almaviva.)
Rosina
For give me,
I
beg you, my
hus
band.
Almaviva 8
There’s no
Bégearss 8
Turn
the oth
(Allegro) I Vn. II
Va.
Vc.
Cb.
er cheek and for give
your
wife.
mer
cy
in
my
221
85 Slightly slower 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
Rosina
For give me, my
lord.
Almaviva 8
heart.
I’ll
ne
ver
re
lent.
(aside)
BĂŠgearss 8
For give her, my friend.
His
hat
Slightly slower 1., solo
I Vn. II 1., sola
Va.
3 soli
Vc. 2 soli
Cb.
red
fills me with joy!
222 a tempo
rall.
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(HARPSICHORD)
Synth.
Piano
Harp
(to Almaviva) Rosina
If
you loved
me,
let our child ren mar
ry.
And
for
give
our
son.
(to Rosina)
Almaviva 8
Nei ther!
BĂŠgearss 8
a tempo I Vn. II
Va.
Vc.
Cb.
rall.
Ne ver!
223
86 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
Rosina (to BĂŠgearss) 5
5
Almaviva 8
YoulovedChe ru
bi
no!
Now live with your shame.
Come, my friend, let us dis cuss your wed ding plans.
BĂŠgearss 8
(1., solo)
I Vn. II (1., sola)
Va. div. a3 (3 soli)
1.
Vc. 2. (2 soli)
Cb.
1., solo
(1.)
224 = 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Exit Bégearss and Almaviva)
(to herself)
Rosina
That
man
is
a
saint…
but
e
ven he
can’t
Almaviva 8
(to Rosina)
Bégearss 8
I
did
my
best. =
I Vn. II
Va.
Vc.
Cb.
225
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Rosina 5
help
me now.
I
am tru ly
lost.
Oh,
Oh,
Che ru
bi
Almaviva 8
BĂŠgearss 8
I Vn. II
Va. (3 soli, div. a3)
Vc. 1., solo
Cb.
no,
I gave up my
life
for you.
226 Vuota
87 Adagio
= 96–102
=
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F
with straight mute
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
continue ad lib. Rosina 3
Che ru bi no,
3
Che ru bi no,
Che - ru - bi - no…
Che - ru - bi - no…
Che - ru - bi - no…
Che - ru - bi - no…
Che - ru - bi - no… Beaumarchais: (spoken)
Beau.
Adagio
= 96–102
Now we tutti
I Vn.
dolce
II
3 sole
dolce
Va.
tutti, pizz.
Vc. tutti, pizz.
Cb.
1., arco 2., pizz.
227 un poco meno adagio (feel in 2)
3
88
=
1 Fl.
3
3
3
3
3
3
3
3
2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Rosina’s calls slowly change to questions.)
(etc.)
Rosina
Che - ru - bi - no…
Che - ru - bi - no?
Beau.
go back in time, let it be Spain, twenty years before. Let it be Seville,
…the full bloom of spring. 3
= I Vn.
div.
II tutti, div.
unis.
Va.
Vc. 1/2 pizz., 1/2 arco
Cb.
tutti arco
228 =
=
*
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F
(muted)
open
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Rosina’s clothing comes off, and she is twenty years younger dressed as a shepherdess. She puts on a blindfold. Meanwhile, the stage -within-a-stage has expanded to become the Garden of Aguas Frescas, home of the Almaviva family in Spain. We are in a bower. Rosina
Che - ru - bi - no?
Che - ru - bi - no?
Beau.
=
=
I espr. unis.
Vn. II
espr.
Va. arco
Vc.
Cb. *Continue 3/4 feel.
espr.
229
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Cherubino touches Rosina. She removes her blindfold.) free Rosina
Where Cherubino
I Vn.
non div.
II
Va.
Vc. div.
Cb.
are you tak ing me,
young
230
89
Duet Andante
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Rosina
shep herd? dolce Cherubino
Look
at the green here in the glade.
Feel the mild breeze and the scent of wild thyme. Hear the vix en’s shrill cry
and the lamb’s com plaint. We’re in the Gar den of
Andante div.
I Vn.
metà
tutti, div.
II metà
Va.
Vc.
Cb.
231
1 Fl. 2
1 Ob. 2 3
3
3
3
3
3
3
3
3
3
3
3
3
1 Cl. in B
3 3
3
3
3
3
3
3
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(to herself) 3
3
3
Rosina
I’m
not
ac quaint ed with these parts.
I’m lost
in
this land
and fright ened.
Cherubino
Earth ly De lights.
To the
(div.)
I Vn. II 3 sole
Va.
pizz.
Vc. unis., pizz.
Cb.
232
90 1
Fl. 2
1 Ob. 2 3
3
3
3
3
3
3
3
3
3
3
3
1 Cl. in B
2
1 Bn. 2 3
1 Hn. in F
3
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(bassoons + cb.)
Synth.
Piano
Harp
3
3
Rosina 3
3
My soul
is
closed
to sweet plea sures.
Cherubino
north
is
the Vil lage of Shy
Glanc
es.
To
the east
(div.)
I Vn.
unis.
metà
II metà
Va.
Vc. div., arco
Cb.
is the Grove of Ten der
233
1 Fl. 2
1 Ob. 2 3
3
3
3
3
3
3
3
3
3
3
3
1 Cl. in B
2
1 Bn. 3
2 3
1 Hn. in F
3
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
(bassoons)
Synth.
3
Piano
Harp
Rosina 3
3
Rage,
bit ter ness,
3
and
hate
con sume
me.
Cherubino
Touch
ing.
To
the west
is
the
Riv
er
of
(div.)
I Vn.
(metĂ )
tutti, div.
II (metĂ )
Va. 3
arco
Vc. 3
Cb.
unis.
234
91 1
Fl. 2
1 3
Ob. 2
3 3
3
3
3
3
3
3
3
3
1 Cl. in B
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
2
1 Bn.
3
2
3
1 Hn. in F
3
3
2 sub. with straight mute
1 3
Tpt. in C
3
with straight mute
2 (open)
1 3
Tbn.
(open)
2 3 3
Timp.
Perc.
1 2 3
Synth. 3
Piano
3
3
Harp
3
(non arp.)
3
3
sub. Rosina 3
3
Oh,
Che ru bi no, take
3
me home.
I
am
un
wor
thy
of
pa
ra
dise.
Cherubino
Sighs.
And
(div.)
I Vn.
(div.)
II 3
Va. 3
Vc.
3
Cb.
div.
tutti
south, past the arch
ing
235
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Rosina
Cherubino
wil
low,
is
the
Tem
(div.)
unis.
(div.)
unis.
I Vn. II
Va.
Vc.
Cb.
ple
of
Love.
236
92 (Andante) 1
Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(Rosina turns toward Cherubino and relents, at last won over.) Rosina
Cherubino
Come now, my dar
ling,
come with me,
Come
to the room
I have made for thee.
Let us strew the bed
(Andante) I Vn. II
Va.
Vc. div., half pizz., half arco
Cb.
unis, arco
with flow ers,
There
237 poco rall. 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(In the audience, Beaumarchais moves closer to Marie Antoinette, who is listening entranced to Rosina. Louis grows uncomfortable as Beaumarchais and Marie Antoinette become more intimate.) Rosina
Cherubino
we will spend the
hours.
There
we will spend the
hours.
There
we will spend the
hours.
poco rall. I Vn. II
Va.
Vc.
Cb.
238
93 a tempo 1
Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
dolce Rosina
Yes,
yes,
my dar
ling, I’ll come with thee,
Come
to the room
that is
made
for me.
Let us strew the bed
Cherubino
Come
a tempo I Vn. II
Va.
Vc.
Cb.
now,
my dar
ling,
come with me,
Come
to the room
I have made for thee.
with
239
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Rosina
flo
wers,
There
we
will spend the
hours.
There
we
will spend the
hours.
hours.
There
we
will spend the
hours.
Cherubino
Let us strew the bed
I Vn. II
Va.
Vc.
Cb.
with flo
wers,
spend
the
240
94 3
= 1 Fl.
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3 3
2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Rosina
There
we
will spend the
hours.
There
we
will spend the
hours.
There
we
will
spend
the
There
we
will
spend
the
Cherubino
3
= I Vn. II
Va.
Vc.
Cb.
241 = 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Rosina
hours.
We
will
spend
the
hours.
There
we
will
spend
the
hours.
We
will
spend
the
hours.
There
we
will
spend
the
Cherubino
= I Vn. II
Va.
Vc.
Cb.
242
95 =
Quartet
=
(
= )
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
Synth.
Piano
Harp
Rosina
hours
the
hours
hours
the
hours
Cherubino
(
= )
M.A. Beaumarchais: (to Marie Antoinette) Beau.
Look =
(
at the green here
= )
in
( = )
I Vn. II div.
Va. dolce pizz.
div., arco
dolce
Vc. pizz.
Cb.
(
=
)
(
= )
the glade.
243
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
Synth.
Piano
Harp
Rosina
Though
hours
pass
swift
ly,
Love
is
e
ter
nal.
Though
hours
pass
swift
ly,
Love
is
e
ter
nal.
Cherubino
M.A.
Beau.
Feel
the mild breeze and the scent of wild thyme. Hear the vix en’s shrill cry
and the lamb’s com plaint.
We’re in the Gar
den of Earth ly De lights.
To the
I Vn.
div.
II (div.)
metà
Va. (div.)
Vc.
Cb.
unis.
div.
244
96
=
=
1 Fl. 2
1 Ob. 2 3
3
3
3
3
3
3
3
3
3
3
3
1 Cl. in B
2
1 Bn. 2
3
1 Hn. in F
3
2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
(bassoons)
Synth.
Harp
Rosina
Cherubino Marie Antoinette:
3
3
M.A. 3
3
My
soul
is
closed
to sweet plea sures.
Beau.
north
is
the Vil lage of Shy
Glan
ces.
To
div.
I (div.)
Vn.
metá
II (metà)
Va. (div.)
Vc. div., arco
Cb.
the east
is
the Grove of Ten der
245
97 1 Fl. 2
1 3
Ob. 2
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Cl. in B
2
1 Bn.
3
2 3
3
3
3
1 Hn. in F 2 (with straight mute)
1 3
(with straight mute)
Tpt. in C
3
2 (open)
1 3
Tbn.
(open)
2 3 3
Timp.
Perc.
1 2 3
Synth. 3
3
Harp
3
3
Rosina
Cherubino sub. M.A. 3
Rage,
3
bit ter ness,
and
hate
3
3
con sume
me.
3
Oh,
Beau.
Touch
ing.
To
the west
is
the Ri ver
of
Sighs.
(div.)
I Vn.
(metĂ )
tutti, div.
II (metĂ )
Va.
(div.)
unis. 3
Vc. 3
Cb.
3
Beau mar chais,
246
1 Fl. 2
1 Ob. 2 3
3
3
1 Cl. in B
3
3
3
3
3
3
3
3
3
3
3
3
3
3
2
1 Bn. 2
1 Hn. in F
3
2 sub.
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
Synth.
3
3
3
Harp
(to Cherubino) legato Rosina
The
birds
are
(to Rosina) legato Cherubino
The 3
3
M.A. 3
let
me be.
I
am un wor thy
of pa ra
dise.
Beau.
And (div.)
I Vn. unis.
II tutte
Va.
Vc.
div.
Cb.
3
south,past the arch ing
wil low,
is the Tem unis.
ple of Love.
birds
are
247
98 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp. 1
Perc.
2
3
Synth.
Harp
(Marie Antoinette slowly turns towards Beaumarchais. She is at last won over.) Rosina
hushed.
Your
cheeks
are
flushed.
The
earth
is
sweet
andsoft,
hushed.
Your
cheeks
are
flushed.
The
earth
is
sweet
andsoft,
Cherubino
M.A. dolce Beau.
Come
now
my dar
ling,
come with me,
Come
to the room
I have made
for thee.
Let us strew the bed
I Vn. II
Va.
Vc. div., half pizz., half arco
Cb.
(pizz.)
tutti, unis., arco
with
248 poco rall. 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
Rosina
Cool
andsafe.
There
Cool
andsafe.
There
we
will
spend
the
hours.
We willspend
the
will
spend
the
hours.
We willspend
the
Cherubino
we
M.A.
Beau.
flow
ers,
there
we
will spend the
hours.
There
we
will spend the
hours.
poco rall. I Vn. II
Va.
Vc.
Cb.
249
99 a tempo 1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
Rosina
hours.
The
hours.
The
hours.
The
earth
is
sweet
andsoft,
The
earth
is
sweet
and soft,
Cherubino
hours.
(to Beaumarchais) dolce M.A.
Yes,
yes
my dar
ling, I’ll come with thee.
Come
to the room
that is
made
for me.
Let us strew the bed
Beau.
Come,
a tempo I Vn. II
Va.
Vc.
Cb.
now
my dar
ling.
Come withme.
Come
to the room
I have made
for thee.
with
250
1 Fl. 2
1 cresc.
Ob. 2
1 Cl. in B
cresc.
2 cresc.
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
cresc. Rosina
Cool
and safe.
There
we’ll
spend
the
hours.
There
we
will spend the
we
will spend the
cresc. Cherubino
Cool
and safe.
There
we’ll
spend
the
hours.
There cresc.
M.A.
flow
ers.
There
we
will spend
the
hours.
There
we
will spend the
hours. cresc.
Beau.
Let us strewthe bed
with flow
ers
spend
the
hours.
There
we
will spend the
hours,
I Vn. II
Va. cresc.
Vc. cresc.
Cb.
the
251 più mosso
rall.
1 Fl. 2
1 Ob. 2
1 Cl. in B
2
1 Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
Synth.
Harp
pesante Rosina
hours.
Let us strew the bed
with
flow
ers
and spend the hours.
pesante Cherubino
hours.
Let us strewthe bed
with flow
ers
with flow’rs
spend the hours.
pesante M.A.
Let us strew the bed
with flow’rs
and
spend the hours.
pesante Beau.
hours.
Let us strew the bed
with flow’rs
with flow’rs
più mosso
rall.
I Vn. II
Va.
Vc. pizz.
Cb.
spend the hours.
arco
252
100 a tempo 1
Fl. 2
1 Ob. 2
1 Cl. in B
2
1 espr.
Bn. 2
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
1 2 Trg.
Perc. 3
Synth.
Harp
(Rosina and Cherubino kiss. Louis reacts to this kiss and moves near Beaumarchais and Marie Antoinette. at the moment they are supposed to kiss, he places his sword between their lips and says “No.”.) Rosina
There wewill spend the
hours.
There wewill spend the hours. (Kiss)
There
we’ll
spend
the
hours.
There wewill spend the
hours.
There wewill spend the hours. (Kiss)
There
we’ll
spend
the
hours.
Cherubino
M.A.
There
We’ll
spend
the
hours.
There we will spend the
hours.
There we will spend the hours. Louis:
but with intensity
Louis
No. Beau.
There
We’ll
spend
the
hours.
a tempo I Vn. II
Va. div.
Vc. pizz.
Cb.
arco
There we will spend the
hours.
There we will spend the hours.
101
253
Scene 4
1 Fl.
to Piccolo
2
1 Ob. 2
1 Cl. in B
legatissimo
2 legatissimo
1 legatissimo
Bn. 2 legatissimo
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Perc.
1 2 3
(clarinets and bassoons)
Synth.
legatissimo
Piano
Harp
The image on the little stage fades to black.)
M.A.
(growing more and more excited)
(to Ghosts)
(to Beaumarchais, brandishing his sword)
Louis
I’ve had enough. I see what’s happening here. You He wants to steal my wife. want to steal my wife.
You’ve written an opera to steal my wife.
Beau.
I’ve written an opera to amuse Antonia.
I Vn. II
Va. al sord.
Vc.
Cb.
254
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
1 Bn.
to Contrabassoon
2
1 Hn. in F 2 (with straight mute)
1 Tpt. in C
with straight mute
2
1 Tbn. 2
Timp. 1 2 3
Perc.
Synth.
Piano
Harp
Woman with Hat: (to Marie Antoinette)
(Beaumarchais draws his sword.)
W. w. H.
How exciting! He’s going to fight over her. M.A.
Louis
Antonia! Now it’s Antonia! Have your arrogance and presumption no limits?
En garde, Beaumarchais.
Defend yourself, if you are a man!
Beau.
With pleasure! sul ponticello
I Vn.
sul ponticello
II
sul ponticello
Va.
Vc.
Cb.
102
Dueling Song Vivace
= 144–156
255
Picc. *
Fl.
1 *
legatissimo
1 Ob.
legatissimo
2 *
1 Cl. in B
legatissimo
2
Bn.
1 Contrabassoon, solo
Cbn.
1 Hn. in F 2 1.
Tpt. in C
1 2 take straight mute
1 Tbn. 2
Timp. Vib., bowed
1 Crot., bowed
Perc.
2
3 (WHITE SOUND)
Synth.
sempre
Piano
Harp
(Louis and Beaumarchais duel. They are both fine swordsmen, but Louis’ skills are hampered by excessive posing.) (The dueling starts slowly.) (3 Chattering Women, Woman with Hat, Marie Antoinette, The Marquis, Louis, and Beaumarchais ad lib. appropriate comments.) **
Quartet of Ghosts
S will
cut
you
in
to
pie
ces.
will
cut
you
in
to
pie
ces.
will
cut
you
in
to
pie
ces.
A
T 8
B
Vivace
= 144–156
He
1 solo, con sord. *
I Vn.
al sord.legatissimo
II 1 sola, con sord. *
Va. legatissimo
Vc. 1 solo
Cb. *Finger 16th notes, but do not play. Occasionally, ad lib., play. Begin niente, crescendo to pianissimo, and decrescendo back to niente. Play legatissimo and only in ranges in which dynamics may be be controlled. Do not enter or exit on strong beats. Vary the lengths of passages. **Voices may need discreet amplification.
256
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
solo
2
Tpt. in C
1 2
1 Tbn. 2
Timp. (Vib.)
1 (Crot.)
Perc.
2
3
Synth.
Piano
Quartet of Ghosts
S
will
slice
you
for
the
pot.
There’s
a
no
ther of
his
ca
pri
ces.
will
slice
you
for
the
pot.
There’s
a
no
ther of
his
ca
pri
ces.
will
slice
you
for
the
pot.
A
T 8
B
He Vn. I solo div., con sord.
Vn. I gli altri metá, con sord.
Vn. II
Va.
Vc. (1 solo)
Cb.
tutti, div., con sord.
257
103
Piccolo
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
*
2 *
Bn.
1
Cbn. * with straight mute
1 Hn. in F
(open)
2 * (with straight mute)
1 Tpt. in C
(with straight mute)
2 with straight mute
1 Tbn. 2
1 2 3
Perc.
Synth.
**
Piano
(Louis drops his sword.)
Marie Antoinette:
(He regains it.)
M.A.
Watch out, Louis!
Quartet of Ghosts
S
will
feed
him
to
the
dogs.
will
feed
him
to
the
dogs.
will
feed
him
to
the
dogs.
A
T 8
B
That’s
how
men
do
the
ga
votte.
He
Vn. I solo
Vn. I gli altri
1-2 Vn. II
(div.)
3-4 5-6
Va. sola div., con sord.
Va. gle altre * 1 solo, con sord.
Vc.
Cb. *Finger 16th notes, but do not play. Occasionally, ad lib., play. Begin niente, crescendo to pianissimo, and decrescendo back to niente. **Left hand optional (do not play).
258 Picc.
Fl.
1
Ob.
1 2
(1.)
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2 1.
Tbn.
1 2
Perc.
1 2 3
2. (open)
Synth.
Piano
Chattering Women
S
Loo
ee
Loo
ee oo ee oo ee oo ee oo ee oo ee oo ee
A
ooo
eee
ooeeooeeooee ooeeoo
ooo
eee
ooeeooeeooee ooeeoo
A
Quartet of Ghosts
S
not
good
e
nough
for
hogs.
He’s
con sumed
by
a
rag
ing
fire.
not
good
e
nough
for
hogs.
He’s
con sumed
by
a
rag
ing
fire.
not
good
e
nough
for
hogs.
He’s
con sumed
by
a
rag
ing
fire.
He’s
con sumed
by
a
rag
ing
A
T 8
B
He’s Vn. I solo div. a3 Vn. I gli altri
1-2 Vn. II
(div.)
3-4 5-6
Va. sola (div.)
Va. gle altre
Vc. solo Vc. gli altri
Cb.
fire.
259
104 Picc.
Fl.
1
Ob.
1 2
(1.)
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
with hand
2
1 Tpt. in C 2 open
1 Tbn. 2
Perc.
1 2 3
Synth.
Beaumarchais: (shouts while dueling) Beau.
Chattering Women
Do you love me, Antonia? S
A
A
Quartet of Ghosts
S
will
stop
him.
will
chop
him.
will
stop
him.
will
chop
him.
will
stop
him.
will
chop
him.
A
T 8
B
Thrust
Vn. I solo (div. a3)
Vn. I gli altri (1., 2.)
Vn. II (1 sola)
Va. (1 solo)
Vc.
Cb.
it
deep
er,
get
him,
sire‌
He
He
260
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
Tbn.
1 2
Perc.
1 2 3
Synth.
Piano
Chattering Women
Continue ooo–eee, but add “Antonia,” first with pure vowels, gradually changing to very nasal intonation. Ad lib, do not synchronize.
S Continue ooo–eee, but add “Antonia,” first with pure vowels, gradually changing to very nasal intonation. Ad lib, do not synchronize.
A Continue ooo–eee, but add “Antonia,” first with pure vowels, gradually changing to very nasal intonation. Ad lib, do not synchronize.
A
Quartet of Ghosts
S
will
cut
you
in
to
pie
ces.
will
slice
you
for
the
pot.
will
cut
you
in
to
pie
ces.
will
slice
you
for
the
pot.
will
cut
you
in
to
pie
ces.
will
slice
you
for
the
pot.
A
T 8
B
He
He
Vn. I solo (div. a3 Vn. I gli altri (1., 2.)
2 stands
1 stand 1., 2.
Vn. II 3.–6. (1 sola)
Va. sola div. a2
Va. gle altre (1 solo)
Vc.
Cb.
liquid
div. a4
div. a3
261
105 Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2 1.
Tbn.
1 2
Perc.
1 2 3
1., Xyl.
Synth.
Piano
Chattering Women
cresc. poco a poco
S cresc. poco a poco
A cresc. poco a poco
A cresc. poco a poco
S Quartet of Ghosts
There’s
an oth er of
his
ca
pri
ces.
will
him
to
the
dogs.
cresc. poco a poco
A
There’s
an oth er of
his
ca
pri
ces.
will
feed
him
to
the
dogs.
cresc. poco a poco
T 8
will
B
That’s how
men
do
the
ga
votte.
He
Vn. I solo (2 stands) via sord. Vn. I gli altri
(1 stand) metá, div.
(1., 2.)
Vn. II (3.–6.)
Va. sola (div. a3)
div. a4
div. a2
Va. gle altre (1 solo)
Vc. tutti, arco
Cb.
feed
div. a3
feed
him
to
the
dogs.
262 accel. Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F 2
1 Tpt. in C 2
1 Tbn. 2
Timp.
Synth.
Chattering Women
Piano
S A A cresc.
Quartet of Ghosts
S
not good e nough for
hogs.
He’s
con sumedby a rag ing
fire.
will stop him.
will chop him.
cresc.
A
not good e nough for
hogs.
He’s
con sumedby a rag ing
fire.
will stop him.
will chop him.
not good e nough for
hogs.
He’s
con sumedby a rag ing
fire.
will stop him.
will chop him.
He’s
con sumedby a rag ing fire.
cresc.
T 8
B
He’s
Thrust it
deep er,
get him,
sire.
He
He
accel. Vn. I solo tutti, div. a4 Vn. I gli altri (metá, div.)
via sord.
tutti, div., senza sord.
Vn. II
Va. sola (div. a3)
Va. gle altre (1 solo)
Vc.
Cb.
via sord.
senza sord.
263
Vuota Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F 2 remove mute
1 Tpt. in C
remove mute
2
1 Tbn. 2
Timp.
Perc.
1 2 3
Synth.
Piano
C.W.
(Louis runs Beaumarchais through with his sword. Marie Antoinette shrieks in horror, while Louis walks off in triumph. After a moment, calmly, painlessly and slowly, Beaumarchais pulls the sword out of himself and, kneeling in mock respect, returns the sword to Louis.) S A A
Quartet of Ghosts
S
will stop him.
will chop him.
Stop him, chop him,
chop him, stop him, chop him.
will stop him.
will chop him.
Stop him, chop him,
chop him, stop him, chop him.
will stop him.
will chop him.
Stop him, chop him,
chop him, stop him, chop him.
Stop him, chop him,
chop him, stop him, chop him.
A
T 8
B
He Vn. I solo (div. a4) Vn. I gli altri (cresc.) (div.)
Vn. II (cresc.)
Va. sola (div.)
Va. gle altre (cresc.)
Vc.
Cb.
He
Vuota
264
106 Vivace
Vuota
= 144–156
Picc. *
Fl.
1 *
1 Ob. 2 *
1 Cl. in B
*
2 *
Bn.
1
Cbn. *
1 Hn. in F 2 open
*
1 Tpt. in C
open
2
Timp. 1., Xyl.
Perc.
1 *
(WHITE SOUND)
Synth.
sempre
Piano
(Beaumarchais gleefully runs Louis through. The King finally joins the laughter; everyone is laughing, singing, and running each other up to rehearsal 108.
(laughing) M.A.
We’re dead.(laughing)
We’re dead!
Beau.
Chattering Women
You forgot your sword, you Majesty. She’s laughing.
You’re laughing!
(joining in on the laughter)
S
will
cut you
in
to
pie ces.
will slice you
for
the pot.
will
cut you
in
to
pie ces.
will slice you
for
the pot.
will
cut you
in
to
pie ces.
will slice you
for
the pot.
will
cut you
in
to
pie ces.
will slice you
for
the pot.
will
cut you
in
to
pie ces.
will slice you
for
the pot.
(joining in on the laughter)
A A (joining in on the laughter)
Quartet of Ghosts
S (joining in on the laughter)
A (joining in on the laughter)
T 8
(joining in on the laughter)
B
Vuota
He senza sord. *
Vivace
Vn. I solo div. a2
Vn. I gli altri (div.)
Vn. II 1 sola, senza sord.
*
Va. 1 solo, senza sord.
*
Vc. 1 solo
Cb. *As before, crescendo from niente to mezzo-forte and then back to niente, to sound more hysterical. Oboe 1 and Clarinet 1 continue to play 16th note figures between accented pitches whenever possible.
= 144–156
He
265
Picc.
Fl.
1
Ob.
1 2
1.
1.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
solo
2
1 Tpt. in C 2 1.
2.
1 2
Tbn.
Timp. Xyl.
1
Perc.
Synth.
Chattering Women
Piano
S
There’s
an oth er of
his
ca
pri
ces.
will
feed
him
to
the
dogs.
There’s
an oth er of
his
ca
pri
ces.
will
feed
him
to
the
dogs.
There’s
an oth er of
his
ca
pri
ces.
will
feed
him
to
the
dogs.
There’s
an oth er of
his
ca
pri
ces.
will
feed
him
to
the
dogs.
will
feed
him
to
the
dogs.
a2
A1 A2
Quartet of Ghosts
S
A
T 8
B
That’s how
men
do
the
ga
votte.
He
Vn. I solo (div.) Vn. I gli altri (div.) Vn. II
Va. sola div. a3
Va. gle altre
Vc. solo div.
Vc. gli altri tutti
Cb.
266
107
accel. al fine to Flute
Picc.
Fl.
1
1 Ob. 2
1 Cl. in B
2
Bn.
1 to Bassoon
Cbn.
1 Hn. in F
brassy
2 brassy
1
Tpt. in C
2
1 Tbn. 2
Timp.
Synth.
Piano
Chattering Women
Harp
S a2
not
good
e
nough
for
hogs.
He’s
con sumedby a rag
ing
fire,
will
cut
you
not
good
e
nough
for
hogs.
He’s
con sumedby a rag
ing
fire,
will
cut
you
not
good
e
nough
for
hogs.
He’s
con sumedby a rag
ing
fire,
will
cut
you
not
good
e
nough
for
hogs.
He’s
con sumedby a rag
ing
fire,
will
cut
you
not
good
e
nough
for
hogs.
He’s
con sumedby a rag
ing
fire,
will
cut
you
He’s
con sumedby a rag
ing
A1 A2
Quartet of Ghosts
S
A
T 8
Thrust
it
high
er.
B
He’s
accel. al fine
fire,
He
Vn. I solo (div.)
slow gliss. and oscillation
(div.)
slow gliss. and oscillation
Vn. I gli altri marc. Vn. II marc.
Va. sola unis.
Va. gle altre Vc. solo Vc. gli altri
Cb.
unis.
267
Fl.
1
1 Ob. 2
1 Cl. in B
2 1.
Bn.
1 2
Hn. in F
1 2
a2
1 Tpt. in C 2 2.
Tbn.
1 2
Perc.
1
Xyl.
Synth.
Chattering Women
Harp
S
in
to
pie ces.
will slice you
will cut you
in
to
pie ces
will slice you for the pot.
There’s
an other of
his
ca
pri ces.
in
to
pie ces.
will slice you
will cut you
in
to
pie ces
will slice you for the pot.
There’s
an other of
his
ca
pri ces.
in
to
pie ces.
will slice you
will cut you
in
to
pie ces
will slice you for the pot.
There’s
an other of
his
ca
pri ces.
in
to
pie ces.
will slice you
will cut you
in
to
pie ces
will slice you for the pot.
There’s
an other of
his
ca
pri ces.
in
to
pie ces.
will slice you
will cut you
in
to
pie ces
will slice you for the pot.
There’s
an other of
his
ca
pri ces.
in
to
pie ces.
will slice you
will cut you
in
to
pie ces
will slice you for the pot.
There’s
an other of
A
A
Quartet of Ghosts
S
A
T 8
B
He
Vn. I solo
Vn. I gli altri
Vn. II
Va. sola
Va. gle altre
Vc. solo
Vc. gli altri
Cb.
He
He
268 accel. molto 1 Fl.
Flute
2 1.
1 2
Ob.
1 Cl. in B 2
1 Bn. 2 a2
Hn. in F
1 2
1 Tpt. in C 2 1.
2.
1 2
Tbn.
Tamb.
Timp. Xyl.
1 Ten. Dr.
S.D. (rim shot)
Perc.
2 Ratchet
3
Synth.
Piano
S There’s an otherof
There’s
an oth erof
his
ca
pri ces, his
ca pri ces,
his
ca
pri ces,
his
ca
pri ces.
There’s an otherof
There’s
an oth erof
his
ca
pri ces, his
ca pri ces,
his
ca
pri ces,
his
ca
pri ces.
There’s an otherof
There’s
an oth erof
his
ca
pri ces, his
ca pri ces,
his
ca
pri ces,
his
ca
pri ces.
There’s an otherof
There’s
an oth erof
his
ca
pri ces, his
ca pri ces,
his
ca
pri ces,
his
ca
pri ces.
There’s an otherof
There’s
an oth erof
his
ca
pri ces, his
ca pri ces,
his
ca
pri ces,
his
ca
pri ces.
his
ca
pri ces, his
ca
his
ca
pri ces,
his
ca
pri ces.
A1 A2
Quartet of Ghosts
Chattering Women
Harp
S
A
T 8
B That’s how men do…
That’s how men.
accel. molto
pri ces,
Vn. I solo Vn. I gli altri
molto
Vn. II molto
Va. sola
Va. gle altre
molto
Vc. solo Vc. gli altri
molto
108
269
Scene 5, Finale
1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1
Bn.
to Contrabassoon Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
= ca. 60 cue: Scimitars on little stage Timpani (hit and hold)
(hold in place)
Timp. B.D., left hand with standard Bass Drum beater, right hand with bunch of cane beaters r.h. r.h. l.h. l.h. l.h. sim.
1
Perc.
2 Dumbec (2 Clay Drums) High
3 Low
Synth.
Piano
Harp
(On the “little� stage, we see two large, muscular, oiled, bald men, stripped to the waist, wearing baggy pants, dueling with long, heavy scimitars. We are at a gala reception in the embassy of the Sublime Porte. The decor pays homage to the Turkomania of Europe in the 18th and early 19th centuries. Presiding over a glittering court of officials, harem girls, and Europeans is Suleyman Pasha, a huge, round, jolly man wearing a turban and an embroidered coat. The Pasha is seated crosslegged on a round cushion placed on a vast Oriental rug. Standing to the side, on a balcony overlooking the street, to the right of an enormous potted palm, are Almaviva, Rosina, and Susanna. The Count anxiously surveys the room, obviously waiting for someone. To the left of the tree, partially hidden by the fronds, are Florestine and Leon. Every time the count looks in their direction, Leon ducks behind the palm, prodded by Florestine. Sometimes she smiles at her father, and fans herself rapidly when he looks toward her.)
Servant Pasha
I Vn. II
Va.
Vc.
Cb.
270
1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1
Bn.
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2 (cue: onstage scimitars)
Large Tamtam
Timp. with soft stick
(B.D.)
1 Anvil
Perc.
2 Dumbec
3
Synth.
Piano
Harp
(The two duelers bow.) (The guests and ghosts applaud.)
Servant
Pasha
I Vn. II
Va.
Vc.
Cb.
271
109 1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1
Bn.
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1 cue: onstage Crotales
Perc.
2
3
Synth.
Piano
Harp
Crotales
Servant
Pasha * Se
I Vn. II
Va.
Vc.
Cb. *Welcome! (in Turkish)
3
la
m端
na
ley
3
k端m!
Se
la
m端
na
ley
k端m.
272
1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1
Bn.
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Servant (Pasha sneezes.)
(Pasha sneezes.)
Pasha
I
I Vn. II
Va.
Vc.
Cb.
am
Su
ley man Pa
sha.
I
bid you wel
come to
my hum
ble a bode.
273
110
= ca. 108
*
1 Fl.
2 “Rhieta sound"—lips on string of reed
*
1 rough Ob.
2
1 Cl. in B
2
1
Bn.
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1 Crot.
Perc.
2 Clay Dumbec
ad lib. similar patterns
*
3 Low Drum
Synth.
Piano
Harp
(The Pasha claps his hands, signalling the start of a new entertainment. An onstage Oboe (or optional Oboe, Flute duo) and 2 Percussionists (one dumbec, one larger drum) start playing. They are fairly deep into the stage, so their volume will not be overwhelming. They play without conductor and do not synchronize with the other music. The performers’ curtain is raised and several dancers emerge and entertain the guests, accompanied by the Flute-Oboe-Percussion music. The Pasha sits.)
Servant
Pasha **
Hay di ba ka lim ge le cek o yun bas 1 stand (or 1 solo)
la
sin.
= ca. 108
I Vn. II
Va.
Vc.
Cb. *This music is played by onstage musicians. If, however, it is played by the pit orchestra, the flute and oboe players should, if possible, move next to the percussion player in the pit, thus creating an ensemble that plays together. After third bar, this group continues in its own tempo as conductor conducts other pit players. If flute and oboe are too loud for singers, only flute should play this section. **“Let the next act begin!”
274
1 Fl.
2
1 Ob.
2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec, Low Drum)
3
Synth.
Piano
non arpeggio
Harp
dolce
M.A. Louis: (to Beaumarchais) slow, free
Louis
I 3 stands, div. a3
I Vn. II
Va.
Vc.
Cb.
can’t
stay
an
gry
with
you,
you
old
ma
gi
3
cian.
275
Fl.
1
3 5
Ob.
1
3 5
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec, Low Drum)
3
(HARPSICHORD) *
Synth.
Harp
Marie Antoinette: (overlapping Louis) (she giggles)
(Léon peeks from behind the tree.)
(Florestine sees Almaviva turning towrads them.)
(Léon hides)
M.A.
I
feel
tip
sy. Florestine:
Florestine 3
Quick,
Léon:
Léon
Say it, Almaviva 8
(div. a3)
I Vn. II
Va.
Vc.
Cb. *Conductor cues chords with left hand.
dar
ling,
say it!
Lé
on,
hide!
276
111 1
Fl.
2
1
(buzz) Ob.
1
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec, Low Drum)
1
2
3
Synth.
Harp
(Léon looks from his hiding place.)
(Almaviva turns away.)
(As Almaviva turns again, Florestine pushes Léon behind the palm tree.)
Florestine
Quick ly, Rosina
Léon 3
I don’t care Almaviva 8
3
Oh, where is
I Vn. II
Va.
Vc.
Cb.
3
he?
The Am bas sa
dor is
late.
3
a
bout
your
fath er.
Say it,
I
begyou.
dear est…
277
Fl.
1 3
Ob.
1 3
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec, Low Drum)
3
Synth.
Harp
(Léon reappears as Almaviva and Susana turn away again.)
Rosina:
Rosina 3
Lis ten to
3
rea son.
Do not sell the jewels
Susanna:
to night.
3
Susanna:
But,
mas ter…
Léon 3
I
Almaviva:
Almaviva 3
8
My
mind
(div. a3)
I Vn.
div.
II
Va.
Vc.
Cb.
unis.
is made up.
3
no long er
know
who I
278
Fl.
1 3
Ob.
1 3
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec, Low Drum)
3
Synth.
Piano
Harp
(Taps her head to indicate that Léon is mad.)
Florestine
Poor lad… 3
3
Léon
am
or
(div. a3)
I Vn. II
Va.
Vc.
Cb.
what I’m
do ing.
One mo ment I’m
on
fire,
the next,
I’m
like
ice.
Say
it,
dar ling:
3
Do you
love me?
279
112
Fl.
1
Ob.
1
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec, Low Drum)
3
Synth.
Harp
Florestine
LĂŠon
A wake
Marquis: (to Beaumarchais) slow, free
I think of you, a sleep
Marquis 8
She
loves
you.
(div. a3)
I Vn.
div.
II div.
Va. div.
Vc.
Cb.
I think of you. Walk ing, run ning, read ing, eat ing, breath ing,
I
think of you.
280
Fl.
1
Ob.
1
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec, Low Drum)
3
Synth.
Harp
dolce
Florestine 3
Oh,
why do
I
love
such
a
sil ly,
use
less
boy? (with wonderment)
3
LĂŠon
She loves
me!
You
Beaumarchais:
love
me!
Say
(to himself, with wonderment)
Beau.
She (div. a3)
loves
me.
1 solo
I div. a3
Vn. II
dolce (div.)
1 sola
Va. dolce
3 soli
(div.)
Vc. dolce div.
Cb. dolce
2 soli
it
a
281
Fl.
1
Ob.
1
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec, Low Drum)
3
(HARPSICHORD)
Synth.
Marie Antoinette: (silencing him)
Shhh! I’m listening
(Léon hides as Florestine smiles and waves her handkerchief at her father.) (Léon pops his head out.)
(Florestine pushes Léon back.)
Florestine 3
3
Not now, my pet.
3
3
Oh, where is Fi ga ro?
3
He said he’d be here.
(to Almaviva) Susanna: 3
Susanna
Lis ten to Fi ga ro.
Bé gearss is the trai tor!
Almaviva:
Léon 3
gain.
3
That man is a
saint.
Almaviva:
Almaviva 8
That trai tor!
*
1 stand
I Vn. II unis.
Va. unis.
Vc. unis.
Cb. *Conductor will give a left hand cue.
282
Fl.
1
Ob.
1
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1 = ca. 136–144 * S.D., muffled
Perc.
2 (Dumbec, Low Drum)
3
(HARPSICHORD)
Synth.
Harp
(Enter Bégearss, Wilhelm, and Revolutionary Guards from a far door. The guards are goons thinly disguised as gentlemen.) (The Guards nod in understanding.)
Florestine
I’ll
Bégearss: (to guards while walking)
nev er
mar ry him.
Bégearss 8
3
3
…but re mem ber, you
3
3
are fo
3
reign di plo mats…
Almaviva 3
8
3
That man is div. a3
I Vn.
div.
II
Va.
Vc.
Cb. *Do not synchronize with voice. Percussionist sets tempo.
3
a
saint.
3
Andmy daugh ter’s
3
fi an cé.
283
113 Fl.
1
Ob.
1
1 Cl. in B
2
Bn.
1
Cbn.
*
1 Hn. in F
cresc. poco a poco
dim. *
cresc. poco a poco
dim. *
cresc. poco a poco
dim. *
cresc. poco a poco
dim. *
cresc. poco a poco
dim. *
cresc. poco a poco
dim.
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1 ( = ca. 144) S.D., muffled
Perc.
2 cresc. poco a poco (Dumbec, Low Drum)
dim.
3
(brass, to support crescendo if needed)
Synth.
cresc. poco a poco
Harp
(Almaviva turns away.) Florestine: (seeing Bégearss)
(Léon hides again.)
Florestine Léon: (whispers)
3
Quick,
3
hide!
Léon 3
Say it a gain!
(continuing)
Bégearss 8
…and when he give him the jewels, then, and not before, you attack like wild
(div. a3)
I (sempre
Vn.
)
II
Va.
Vc.
Cb. *If necessary, the player may breath and re-attack on this beat.
dogs
and hold the Count in your jaws.
284 (Dance and music end when handbell sounds.) Fl.
1
Ob.
1
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1 (Crotales) (S.D.)
Perc.
B.D.
2 (Dumbec, Low Drum)
3
Synth.
Harp
(Page stamps cane of floor as he rings a handbell.) (Almaviva sees Bégearss.)
(Bégearss approaches Almaviva.)
Page: (playing Crotale)
(The English Ambassador appears as the onstage musicians scurry together to play his national anthem.)
spoken Page
His excellency, the British Ambassador. Bégearss 8
My
Almaviva 3
8
3
Ah, Bé gearss, my friend. (div. a3)
I Vn.
unis.
div.
II dolce div.
Va. dolce div.
Vc. dolce div.
Cb. dolce
dear
friend.
285
114 1 Fl.
3
5
3
5
3
5
2 rhieta sound
1
rhieta sound
Ob.
2
1 Cl. in B
Bn.
2
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 Dumbec, with cane beaters
3
Synth.
Piano
Harp
Almaviva 8
(The British Ambassador looks askance at the duo.)
B. A.
I Vn. II
Va.
Vc.
Cb.
286 moving ahead 1 Fl.
2
1 Ob.
2
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec)
3
(HARPSICHORD)
Synth.
Harp
Almaviva 8
(He looks less and less happy at the rendition, while the Pasha beams at his musicians.)
B. A.
moving ahead 1., solo, col legno
ord., non vib.
I Vn. II 1., sola, col legno
ord., non vib.
Va. div., non vib.
ord., non vib.
1 2
col legno
Vc. 3
2 soli, col legno 0
Cb.
ord., non vib.
rubato quarter-tone lip vibrato
a tempo
287
rit.
quarter-tone lip vibrato
ord.
6
6
1 Fl.
2 quarter-tone lip vibrato
quarter-tone lip vibrato ord.
6
6
1
quarter-tone lip vibrato
Ob.
quarter-tone lip vibrato ord.
6
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec)
3
Synth.
Harp
Backgrnd. Chatter
Almaviva 8
B. A.
(solo)
rubato
I Vn. II (sola)
Va. (div.)
1 2 Vc. 3 non vibrato
Cb.
a tempo
rit.
6
288
115 1
Fl.
2
Ob.
1 to English Horn
E.H.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec)
3
(HARPSICHORD)
Synth.
Harp
(The Ambassador bows to the Pasha, then goes to Almaviva’s group. The dancers exit through the performers’ curtain and are replaced by some acrobats. They perform to ad lib. percussion played by the onstage percussionsist(s). The guests chatter in the background. The English Ambassador approaches Almaviva.)
Backgrnd. Chatter Almaviva:
Almaviva 8
3
British Ambassador: (somewhat formally)
B. A.
Too long, your ex cel len cy.
How is your cou sin
and la
dy
A
lice?
3 3
3
My dearAl ma vi va,
1., solo, with vibrato
I rich
Vn. II
1., sola, with vibrato
Va. rich 1-3, div. a3, with vibrato
Vc. rich 2 soli, with vibrato
Cb. rich
it
has been a
long time.
We have so much
289
1 Fl.
2
Ob.
1
E.H.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Dumbec)
3
Synth.
Harp
Backgrnd. Chatter (They both walk off arm in arm with exaggerated politeness toward the palm, not noticing that they are being followed by Susanna, Léon, Florestine, Rosina, Bégearss, and the Revolutionary Guards. The Pasha notices this procession and, curious, joins the line. As other people notice the “watchers,” they too, turn to stare at the English Ambassador and Almaviva, who notice nothing. Finally, everyone, including acrobats, musicians guests, and Turks is silently staring. The Ambassador and Almaviva put their hands in their pockets. dolce
(looks at the English Ambassador)
clears throat
Almaviva 8
3
3
I… (to Rosina)
have a
lit tle
gift
for you, sir.
Shall we…? dolce
B. A. 3
news
to ex change. You willex cuse us,
ma
dam.
And I,
for you.
(1., solo)
I Vn. II (1., sola)
pizz.
(1-3, div. a3)
pizz.
(2 soli)
pizz.
Va.
Vc.
Cb.
290
116 1
Fl.
2
Ob.
1
E.H.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp. cue: Page playing Crotales
1
Perc.
2
3
Synth.
Harp
The Ambassador and Almaviva look down the line of pursuers to a very embarassed Pasha. Simultaneously, they remove their hands from their pockets. Bégearss mutters “Damn!” and the Pasha, giggling, motions for the Page to ring his bell. During this exchange, the other principals look back and forth between the Pasha and the Ambassador and Almaviva as if they were at a tennis match.) Page: (Playing Crotales)
They are about to make the exchange when the… …Pasha sneezes.
Page Bégearss: spoken
Bégearss
Damn!
8
formally, after regaining his dignity)
Pasha:
Pasha
Sneeze! (Looks at Almaviva)
B. A.
Shall we…? I Vn. II
Va.
Vc.
Cb.
O
ex
cel
lent
ones!
O no
blegath
’ring!
291
1 Fl.
2
Ob.
1
E.H.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Page
Pasha
To the sing
I Vn. II
Va.
Vc.
Cb.
ing of Sa mi ra, at
tend!
The fra grance of jas mine, the warmth
of the de
sert,
the
beau ty
of the moon—
Sa
mi
292
Cavatina
117 Allegro
= 144
1 Fl.
2
Ob.
1 English Horn
E.H.
1 Cl. in B
2
Bn.
1
Contrabassoon Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
Perc.
1 2 3 (LOW STRINGS)
Synth.
Piano
Harp
(The performers’ curtain parts, and Samira enters. She is elaborately garbed as an Arab dancer. The Pasha places himself between Almaviva and the English Ambassador, all facing the perfomers’curtain.)
Pasha
ra.
Allegro tutti
= 144
div., half pizz., half arco sul pont.
I Vn.
tutti, div.
div., half pizz., half arco sul pont.
II
tutti
Va. tutti
Vc. tutti
Cb.
div., half pizz., half arco sul pont.
293 Slow and free
solo (moderato, player sets tempo)
1 Fl.
2
Ob.
1
E.H.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
*
slow and free
(
)
Samira
I
am
in
a val
ley
and you
are
in
a val
ley.
Slow and free unis., arco sul ponticello
I Vn.
unis., arco sul ponticello
II
unis., arco sul ponticello
Va.
Vc.
Cb. *Generally, sing without vibrato except where indicated. Occassionally ad lib. vibrato or slow change from no vibrato to vibrato.
I
haveno she-
or he
ca melin
it.
294
1 Fl.
2
Ob.
1
E.H. quarter-tone lip vibrato
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(slow)
(how - oose)
Samira
In ev’ (sul pont.)
I Vn.
(sul pont.)
II (sul pont.)
Va.
Vc.
Cb.
ry house
there is
a cess
pool.
That’s
(accel.)
(rit.)
118 Allegro
295 = 144
1 Fl.
2
Ob.
1
E.H.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3 (tuba)
Synth.
Piano
Harp
Samira
life!
Allegro
= 144
I div., arco ord.
Vn. II
unis., arco ord.
Va.
Vc.
Cb.
296 Slow and free 1 Fl.
2
Ob.
1
E.H.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
slow
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
quarter-tone oscillation
3
Samira 3
He
beat me,
Slow and free div., half pizz., half sul ponticello
I Vn.
div., half pizz., half sul ponticello
II
div., half pizz., half sul ponticello
Va.
Vc.
Cb.
then wept,
stole
my wa ter
and then com plained.
(d)
Some days
it’s ho ney some
3
3
days,
on ions.
297
1 Fl.
2 rall. Ob.
1
E.H.
1 Cl. in B
2
Bn.
1
Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
*
Harp
accel. (repeated ad lib.)
(as before)
Samira
But
re pe ti tion
I Vn. II
Va.
Vc.
Cb. *Play A , pedal to A , back to A (reattack), and repeat.
will
teach
e ven
a don
key.
That’s
rall.
298
119 Allegro
= 144
Slow
1 Fl.
to Piccolo
2
Ob.
1 to Oboe
E.H.
1 Cl. in B
2
Bn.
1
to Bassoon Cbn.
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
Perc.
1 2 3 (tuba)
Synth.
Piano
(delay A and E until pedal change)
Harp
Samira
life!
(calling out to Samira)
Far fromthe eye,
far from the heart. Keep a way from e vil
Pasha
Cok yasa yavrum!
Allegro
= 144
Slow
unis., arco ord. div., half pizz., have arco sul ponticello
I tutti (div.), arco ord.
Vn.
div., half pizz., have arco sul ponticello
II
unis., arco ord.
Va.
Vc.
Cb.
div., half pizz., have arco sul ponticello
and sing
to it.
299 Moderato Picc.
Fl.
1 Rhieta Oboe, solo
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Samira looks at the Pasha and sings to him seductively.
Samira (Calling out to her again)
Pasha
Söyle güzelim! Söyle, guzelim!
Moderato (div., half pizz., half arco sul pont.)
I Vn.
(div., half pizz., half arco sul pont.)
II
(div., half pizz., half arco sul pont.)
Va.
Vc.
Cb.
Ya ha
bi
bi.
Ya
ha
300
120
Picc.
Fl.
1 *
rall.
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
rall. *
Samira
bi
bi.
Ya ha bi
bi.
(half pizz., half arco sul pont.)
I Vn.
(half pizz., half arco sul pont.)
II
(half pizz., half arco sul pont.)
Va.
Vc.
Cb. *The figures in Oboe 1 and Samira should overlap each other.
Ya
301
Picc.
Fl.
1 *
N
N
N
N
N
N
N
N
N
N
(NONO)
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
(joining Oboe) *
Samira
Ya
Ya
I Vn. II
Va.
Vc.
Cb. *These figures should overlap.
Ya
Ya
Ya
302 121
Cabaletta Allegro
= 144
Picc.
Fl.
1
1 harsh
Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1 S.D., rimshot
Perc.
2 Low Dr. Dumbec, with cane beaters
continue, simile, ad lib. 16ths
3
Synth.
Piano
Harp
Samira
om
ri
Allegro
= 144
unis., col legno battuto
I Vn. unis., col legno battuto
II
unis., col legno battuto
Va. 0
col legno battuto
Vc. 0
col legno battuto
Cb.
Li
ma tha haj
ar
ta ni? Hat
tam ta Kal
bi.
303 Piccolo Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Low Dr., Dumbec)
3
Synth.
Piano
Harp
Samira
Kay
I Vn. II
Va.
Vc.
Cb.
fa
ta fal bi
ya
ha
tha?
Li
ma tha haj
ar
ta ni? Hat
tam ta kal
bi.
Kay
fa,
ta fal bi
ya
304
122 Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn. Bassoon
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Low Dr., Dumbec)
3 (WOODWINDS)
Synth.
Piano
*
D
Harp
Samira
ha
tha?
Ya
ro
hi,
ha
bai tak,
La ken tan sa wo ord.
I Vn. ord.
II
ord.
Va. ord.
Vc.
ord.
Cb. *Use pedals to bend notes upward and back.
oo dak.
Ya
ro
hi,
ha
305
Picc.
Fl.
1
1 coarse
Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 Low Dr., Dumbec (ad lib. 16ths on Dumbec)
3
(tuba)
Synth.
Piano
Harp
Samira
hai
tak,
La ken
tan sa woo
oo
dak.
Li col legno battuto
I Vn.
col legno battuto
II col legno battuto
Va. 0
col legno battuto
Vc. 0
col legno battuto
Cb.
ma tha haj
ai
ti ni? Hat tam ta Kal
bi.
Kay
fa
ta fal bi ya
306
123 Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Low Dr., Dumbec)
3
Synth.
Piano
Harp
Samira
ha
I Vn. II
Va.
Vc.
Cb.
tha?
Li
ma tha haj
ar
ta ni? Hat
tam ta
kal
bi.
Kay
fa
ta
fal
bi
ya
ha
tha?
307
124 Slightly faster Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
brassy
2 brassy
1 Tpt. in C
2
1 Tbn. 2 *
Timp.
1
Perc.
2 Low Dr., Dumbec (ad lib 16ths)
3 (WOODWINDS)
Synth.
Piano
Harp
(Samira goes to the performer’s curtain, which was closed after her entrance. She reaches through its center opening and gracefully pulls out the hand of a beautiful dancing girl, who enters pulling through the hand of another girl. The sixth of these elaborately clothed female dancers is Figaro in disguise. He sings and dances with the girls, hoping to be unnoticed.)
Samira
Ya
ro
hi,
ha
bai tak,
La ken tan sa woo
oo dak.
Slightly faster
ord.
col legno battuto
I 0
Vn. ord.
col legno battuto
ord.
col legno battuto
II 0
Va. ord.
col legno battuto
ord.
col legno battuto
0
Vc.
Cb. *High D to be played on Rototom
0
308
Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2 take harmon mute
1 Tpt. in C
take harmon mute
2
1 Tbn. 2
Timp.
1
Perc.
2 (Low Dr., Dumbec)
3
8va
(w.w.)
Synth.
8va
Piano
Harp
(The girls and Figaro form a line behind Samira and dance to her singing.)
Samira
Li
I Vn. II
Va.
Vc.
Cb.
ma thahaj
ar
tani? Hat tam ta kal
bi.
Kay
fa
ta fal bi ya
ha
tha?
Li
ma thahaj
ar
ta ni? Hat tam ta kal
309
Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Low Dr., Dumbec)
3 (WOODWINDS)
Synth.
Piano
Harp
(The girls and Figaro dance in place.) *
Samira
bi.
Kay
fa
ta
fal bi ya
ha
tha?
Ya
ro
hi,
ha
bai tak,
La ken tan sa woo ord.
I Vn. ord.
II
ord.
Va. ord.
Vc. ord.
Cb. *Only Samira sings here.
oo dak.
310
125
Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
Perc.
1 2 3
Synth.
Piano
Harp
Samira Dancing Girls:
Ya
ro
hi,
ha
bai tak,
La kentan sawoo
Dancing Girls
Ya
ro
hi,
ha
bai tak,
La ken tan sa woo
oo dak.
Ya
ro
hi,
ha
bai tak,
La kentan sawoo
Ya
ro
hi,
ha
bai tak,
La ken tan sa woo
oo dak.
Ya
ro
hi,
ha
bai tak,
La kentansa woo
Figaro:
Figaro
I Vn. II
Va.
Vc.
Cb.
311
Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2 with harmon mute
1 Tpt. in C
with harmon mute
2
1 Tbn. 2
Timp.
1
Perc.
2 Dumbec (ad lib. 16ths)
3 Low Dr. (stopped horns, or strings)
Synth.
Harp
Samira
oo
dak.
oo
dak.
oo
dak.
Li
Dancing Girls
Figaro
col legno batt.
I Vn. col legno batt.
II
col legno batt.
Va.
col legno batt.
Vc. 0
col legno batt.
Cb.
ma tha haj
ar
ta ni? Hat
tam ta kal
bi.
Kay
fa
ta fal bi ya
312
126 Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2 (with harmon mute)
1 Tpt. in C
2
1 Tbn. 2
Timp. (Low Dr., Dumbec)
Perc.
3 (stopped horns)
(WOODWINDS)
Synth.
Piano
Harp
Samira
ha
tha?
Li
Dancing Girls
Ya
ro
hi,
ha
bai tak.
Ya
ro
hi,
ha
bai tak.
Figaro
I Vn. II
Va.
ord.
col legno battuto
ord.
col legno battuto
Vc.
Cb.
ma thahaj
ar
ta ni?Hat
tamta Kal
bi.
Kay
fa,
ta fal bi ya
313 slightly faster Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
(with harmon mute)
1 Tpt. in C
(with harmon mute)
2
1 Tbn. 2
Timp. (Low Dr., Dumbec)
Perc.
3 (WOODWINDS)
Synth.
Piano
Harp
Samira
ha
tha?
Li
Dancing Girls
Ya
ro
hi,
ha
bai tak,
La ken tan sa woo
oo dak.
Ya
ro
hi,
ha
bai tak,
La ken tan sa woo
oo dak.
Figaro
slightly faster
ord.
col legno battuto
I 0
Vn. ord.
col legno battuto
ord.
col legno battuto
II 0
0
Va. ord.
col legno battuto 0
Vc. ord.
Cb.
col legno battuto 0
ma thahaj
314
127
Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2 take straight mute
1 Tpt. in C
take straight mute
2
1 Tbn. 2
Timp.
(Low Dr., Dumbec)
Perc.
3
Synth.
Piano
Harp
Samira
ar
ta ni?Hat tam ta kal
bi.
Kay
fa
ta fal bi ya
ha
tha?
Li
Dancing Girls
Kha
in!
Kha
in!
Figaro (non div.)
I Vn.
(non div.)
II (non div.)
Va. (non div.)
Vc. (non div.)
Cb.
ma thahaj
ar
ta ni?Hat tam ta kal
bi.
315
Picc.
Fl.
1
1 Ob.
2
1 7
Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 (Low Dr., Dumbec)
3
(WOODWINDS)
Synth.
Piano
Harp
Samira
Kay
fa
ta
fal bi ya
ha
tha?
Ya
ro
hi,
ha
bai tak,
La ken tan sa woo
(non div.)
ord.
(non div.)
ord.
I Vn. II
(non div.)
ord.
Va. (non div.)
ord.
(non div.)
ord.
Vc.
Cb.
oo dak.
316
128
Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
Perc.
1 2 3 (WOODWINDS)
Synth.
Piano
Harp
Samira
Ya
ro
hi,
ha
bai
tak,
La
ken
tan
sa
woo
oo
dak.
Ya
ro
hi,
ha
bai
tak,
La
ken
tan
sa
woo
oo
dak.
Ya
ro
hi,
ha
bai
tak,
La
ken
tan
sa
woo
oo
dak.
Dancing Girls
Figaro
I Vn. II
Va.
Vc.
Cb.
317 * Picc. sub.
Fl.
1 sub.
1 sub.
Ob.
2
1 Cl. in B
sub.
2 sub.
1 sub.
Bn.
2
1 Hn. in F
2 with straight mute (remove during final repetition after downbeat)
1 Tpt. in C
with straight mute (remove during final repetition after downbeat)
2
1 Tbn. 2
Timp. Tamb.
Perc.
2
(WOODWINDS)
Synth.
Piano
sub.
sub.
Harp
wailing** Samira sub.
Dancing Girls
Ya
ro
hi,
ha
bai
tak,
La
ken
tan
sa
woo
oo
dak.
Ya
ro
hi,
ha
bai
tak,
La
ken
tan
sa
woo
oo
dak.
sub.
Figaro
pizz.
I sub. pizz.
Vn. II
sub.
Va.
Vc.
Cb. *Orchestra repeats four bar figure until cue at rehearsal number 129. Signal final repetition in order for Trumpets to remove mutes. **Samira wails, ad lib., ignoring the accompaniment.
318
Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Samira
Ya Dancing Girls
Figaro
I Vn. II
Va.
Vc.
Cb.
ya
ya
ya
ha
bi
bi,
ya
3
ha
bi
bi.
319
Picc.
Fl.
1
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
*
Samira
ya
ha
bi
bi,
ha
ha,
Dancing Girls
Figaro
I Vn. II
Va.
Vc.
Cb. *Samira waits for conductor cue for final four bars. Conductor waits for end of the four bar pattern to cue her.
Ya
oom
ri,
ya
oom
ri.
320
129 lunga
to Flute Picc. sub.
lunga
1
Fl.
sub.
lunga
sub.
lunga
1 Ob.
2 lunga
1 Cl. in B
sub.
lunga
sub.
lunga
sub.
lunga
2
1 Bn.
2 lunga
1 Hn. in F
lunga
2 lunga
open
1 Tpt. in C
lunga
open
remove mute
2 lunga
1 Tbn. 2 lunga
(Tamb.)
Perc. 2 (WOODWINDS)
lunga
(strings)
Synth.
lunga
Piano
sub.
lunga
Harp
(Samira, Dancing Girls, and Figaro freeze; Pasha’s audience and Ghosts applaud them. After the applause, Samira exits. The other dancers (including Figaro) acknowledge the applause by bowing their heads and then leave the playing area to offer the guests fruit from large bowls. At the same time, Almaviva and the Ambassador once again try to sneak off together; once again the principals (minus Pasha) follow them. Figaro makes his way to the head of the line of pursuers, offering each one in turn some fruit.)
*
lunga
Samira
Ya
ro
hi,
ha
bai
tak,
La
ken tan
sa
woo
oo
dak.
lunga *
Dancing Girls
Ya
ro
hi,
ha
bai
tak,
La
ken tan
sa
woo
oo
dak.
lunga *
Figaro
Ya
ro
hi,
ha
bai
tak,
La arco
ken tan
sa
woo
oo
dak.
lunga
I Vn. arco
lunga
II lunga
Va. lunga
Vc. lunga
Cb. *The music should end abruptly, with an “upbeat” feeling.
130
321 = 54–60
(freely
=
)
solo
1 5
languorous, sensual, rubato
Fl.
(
)(
)(
)
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Harp
(Almaviva and the English Ambassador reach the palm and, thinking they are alone again, start to exchange the money and the diamonds.) (Dancing Girls, a5 are asynchronous. Each should overlap the with ad lib. pauses.) (Second Dancing Girl start here, etc.) dolce, rubato
Dancing Girls
Ta fa da loo
(Almaviva and the Ambassador start to walk off together. They are pursued by the same group. Figaro makes his way to the Ambassador through the line of pursuers, offering fruit.)
3
Mar ha bun bi koom.
Almaviva 8
Figaro
Mar ha
= 54–60 I Vn. II
Va.
Vc.
Cb.
bun
bi
koom.
322
1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp. Vib., with hard sticks
1 secco
Perc.
2
3
Harp
(The girls continue to serve the guests, but do so silently. The Ambassador and Almaviva both put a hand in a pocket. They are interrupted by Figaro, who slips between them with his bowl of fruit. With a sexy smile and a wiggle, he offers them figs.) (Figaro breaks in between Almaviva and the English Amabassador.)
Dancing Girls Count Almaviva:
Almaviva 8
Shall we?
(8va, falsetto) sexy, free
Figaro
3
British Ambassador:
Ta fad
da loo
3
mar ha bun bi koom
al
fi
gi?
Fi gi, Fi gi?
B.A.
Shall we?
No, thank you, madam.
Shall we? pizz. (strum)
I Vn. (pont., arco)
II
pizz.
Va. pizz. (strum)
Vc.
2 soli
Cb.
1 solo
323
131 = 54–60 1
5
declamatory
Fl.
melting
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2 dolce
1 Tpt. in C
2
1 dolce
Tbn. 2
dolce
Timp. (Vib.)
1
Perc.
2
3
Synth.
Harp
(Almaviva and the Ambassador try to ignore Figaro. In the guise of being seductive. Figaro searches Almaviva’s pockets for the jewels.)
(Figaro overhears them.) (aside)
Almaviva 8
She’s
of
fen
sive. (gleefully aside)
Figaro
I’m
of
fen
sive.
(aside)
B.A.
She’s
of
fen
sive.
= 54–60 (pizz.)
arco
I Vn. (arco, sul pont.)
ord.
II
div., arco
Va. (pizz.)
Vc. unis.
Cb.
arco
324 (
=
)
1 languid
Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2
3
Synth.
Piano
Harp
Almaviva 8
Figaro
B.A.
I Vn. II
Va.
Vc.
Cb.
325
132 ( = 54–60) 1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
dolce
2 dolce
1 Tpt. in C
2
1 dolce
Tbn. 2
dolce
Timp. Vib.
Perc.
1 secco
Synth.
Piano
Harp
(Almaviva slaps at Figaro’s roving hand.)
(Figaro thrusts an orange at Almaviva.)
(aside)
Almaviva 8
I beg your pardon, madam.
She’s re pul
sive. (gleefully aside again)
sexier
Figaro
Ta fad
da
loo
mar
ha bun bi koom
al or an
gy?
or an
gy?
I’m re pul
(aside)
B.A.
She’s re pul pizz. (strum)
sive.
( = 54–60)
I Vn. sul ponticello
ord.
II
unis., pizz.
div., arco
unis.
Va. pizz.
Vc.
Cb.
arco
326 solo
1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 molto
Hn. in F
2 molto
1 Tpt. in C
2
1 Tbn.
molto
2 molto
Timp.
Perc.
1 2 3
Synth.
Piano
Harp
(Figaro throws a large avocado at Bégearss.)
(Figaro frantically searches Almaviva.)
(Figaro accidentally tickles Almaviva.)
Bégearss 8
Will you please go, madam?
She’s loath some.
Almaviva 8
She’s loath some.
What are you doing? Now stop that!
Figaro
sive.
A vo
ca di, a vo ca di?
I’m loath some.
B.A. div., arco
She’s loath some. unis.
I Vn.
div.
unis.
II
div.
unis.
molto
Va. div.
molto
Vc. molto
Cb. molto
327
133 1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1 Tpt. in C
2
1 Tbn. 2
Timp. Vib.
1
B.D.
Perc.
2 ominous
3
Synth.
Piano
Harp
l.v.
(Figaro leers and pulls out a banana.) sexiest
(falsetto)
Figaro
Ta fad pizz. (strum)
I
Vn.
sul ponticello
II
div.
Va.
unis., pizz. (strum)
Vc.
Cb.
(d)
da
loo
mar
3
3
ha bun
bi koom
al
ba
nan?
328
1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
molto
2
1 Tpt. in C
molto
2
1 Tbn. 2
Timp. (Vib.)
1 (B.D.)
Perc.
2 molto
Bell Tree
3 molto
Synth.
Harp
(Figaro finds the jewels and snatches them discreetly from Almaviva’s pocket while distracting him with the banana. But Wilhelm has witnessed the theft.
Marie Antoinette: (spoken)
(Almaviva tries to snatch the jewels back from Figaro, but by mistake pulls off his wig.)
M.A.
My diamonds! Bégearss: (spoken)
Bégearss 8
Arrest her!
Figaro
Wilhem: (shouted)
Wilhelm
The jewels! She’s got the jewels! Arrest that woman!
I Vn. II
Va.
Vc.
Cb.
329
134 = 132–136 1 Fl.
Flute
2
1 Ob.
2
Cl. in B
1 2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
a2
1.
1.
Timp. (w.w., brass) (BASSOONS)
Synth.
8va
Piano
non arp.
Harp
(Figaro is recognized.)
(Figaro begins the chase.)
Bégearss 8
Ha!
8
Ha!
*
There’s
Fi ga ro!
There’s
Fi ga ro!
There’s
Fi ga ro!
Almaviva *
Wilhelm
Ha!
*
Stop!
Figaro
Oh,
no!
Here we go again!
S Chorus of Pursuers
Ha!
*
There’s
Fi ga ro!
Stop!
There’s
Fi ga ro!
Stop!
There’s
Fi ga ro!
Stop!
There’s
Fi ga ro!
Stop!
A
Ha!
*
T 8
Ha!
*
B
Ha!
*
= 132–136
arco
I
Vn.
non div.
div. a2
non div.
div. a2
II
Va.
non div.
div. a2
Vc.
div.
Cb. *(A loud gasp (intake of breath).
0
330
1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1 secco
Bn.
2
1 Hn. in F
secco
2 secco
take straight mute
with straight mute
take straight mute
with straight mute
1 Tpt. in C
2 take straight mute
1 Tbn.
take straight mute
2
Timp.
Perc.
1 2 3 (brass)
Synth.
(The Revolutionary Guards block the door.)
Bégearss:
(Figaro races past Bégearss.)
Bégearss 8
You
thief,
my
plan is
shat
tered. Wilhelm:
Wilhelm
You’ll pay! S
Chorus of Pursuers
Stop! A
Stop!
Revolutionary Guards and all men
T 8
He
stole the
jew
els!
Stop!
els!
Stop!
Revolutionary Guards and all men
B
He
stole the
jew
I
Vn.
unis.
div. a2
unis.
II
div. a2
Va.
div. a2
Vc.
Cb.
non div.
331
135 1 Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
3
3
3
3
3
3
3
3
1 Hn. in F
2 (with straight mute)
take harmon mute
1 Tpt. in C
2
Tbn.
1 2
Timp.
Perc.
1 2 3
Synth.
Piano
Almaviva:
(Armed Turks pursue Figaro.)
Almaviva 8
You’ll pay, you’ll pay, you’ll pay, you’ll pay, you’ll
pay!
You’ll pay, you’ll pay, you’ll pay, you’ll pay, you’ll
pay!
Wilhelm
Chorus of Pursuers
S
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Fi ga ro!
You’ll pay, you’ll
pay, you’ll pay, you’ll
Stop!
Stop!
Fi ga ro!
You’ll pay, you’ll
pay, you’ll pay, you’ll
A
T 8
B
I div., pizz.
Vn. II
pizz.
Va. rough
Vc. rough
Cb. rough
332
1 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2 with harmon mute
1 Tpt. in C
(with straight mute)
take harmon mute
2 with harmon mute
1 Tbn.
with harmon mute
2
Timp. Low Wd. Blk.
2 Perc.
Castanets
3
(strings)
Synth.
8va
3
Piano
3
Marie Antoinette: (clapping enthusiastically) M.A.
Bravo, Beaumarchais!!
Chorus of Pursuers
S
Stop!
Stop!
Stop,
Fi ga ro!
Stop!
Stop!
Stop,
Fi ga ro!
pay.
Stop!
Stop!
Stop,
Fi ga ro!
pay.
Stop!
Stop!
Stop,
Fi ga ro!
A
T 8
B
I Vn.
unis., arco col legno battuto
ord.
II arco col legno battuto
ord.
Va. col legno battuto
ord.
Vc. pizz.
Cb.
333
136
1. Fl.
1 2 3
Ob.
1 2
Cl. in B
2 1
possibile
3
a2 Bn.
1.
1 2 1.
3
Hn. in F
1 2
Tpt. in C
1 2
3
** (1. 2. ossia) 2.
a2
2.
*** 2. with harmon mute
1 3
*
Tbn. 2
3
Timp. Xyl.
1 Low Wd. Blk.
Perc.
T. Blks.
2 Ratchet
3
Synth.
8
3
Piano
3
Harp
(Marie Antoinette, Rossina, Woman with Hat, and others ad lib. comments)
M.A.
‌It’s wonderful!
(ad lib. shouts)
(ad lib. comments)
S Chorus of Pursuers
Stop!
Stop,
Fi ga ro! (ad lib. shouts)
A
Stop!
Stop,
Fi ga ro!
Stop!
Stop,
Fi ga ro!
(ad lib. shouts)
T 8
(ad lib. shouts) B
Stop!
Stop,
Fi ga ro!
S
Opera Ghosts
Rug!
laughter
A
Dead!
Bored!
3
laughter
T 8
Egg!
Bored!
3
laughter
B 3
I Vn.
pizz.
non div., arco
II non div.
Va.
Vc. (pizz.)
non div.
Cb.
* If triplet figure in next measure is too high, play cue sized notes for 2 measures. ** If triplet figure in next measure is too high for Trombones, play cue sized notes for 2 measures. *** If triplet figure is too high for Trombones, do not play.
3
Po ta to!
1 solo, arco sul ponticello
laughter
334
1 Fl.
2
Ob.
1 2
1 Cl. in B
2
1 Bn.
2
3
*
1 3
Hn. in F
3
3
*
2
Tpt. in C
1 2 *
1 3
Tbn.
*
2 3
Timp.
Perc.
1 2 3
Piano
Harp
(Figaro hides behind palm tree.)
Chorus of Pursuers
(ad lib. shouts)
S (ad lib. shouts)
A (ad lib. shouts)
T 8
(ad lib. shouts)
B
S
Rug!
(laughter)
Opera Ghosts
A
Dead!
Bored!
3
(laughter)
T 8
Egg!
Bored!
3
(laughter)
B 3
non div., arco
Po
3
ta to.
(laughter)
pizz.
I non div., arco
Vn. II
non div., arco
Va.
Vc. tutti, arco ord.
Cb. *As before.
1 solo, sul ponticello
335
137 1 Fl.
2
1 Ob.
2 3
3
3
3
1 Cl. in B
dolce
3 3
3 3
2 dolce
1 Bn.
2 3 3
1 Hn. in F
2 with straight mute
take straight mute
1 Tpt. in C
take straight mute
with straight mute
2 with straight mute take straight mute
1 Tbn.
with straight mute
take straight mute
2
Timp.
Perc.
1 2 3
(muted tpts., tbns.)
Synth.
3
3
3
3
Harp
Figaro
They love me! (ad lib. shouts)
dolce
Just
3
3
S 3
Chorus of Pursuers
Where (ad lib. shouts)
are
dolce
you,
Fi
ga
ro?
Come
3
3
to
3
me,
Fi
3
ga
ro.
Stop!
ro.
Stop!
ro.
Stop!
ro.
Stop!
3
A
Where (ad lib. shouts)
are
dolce
you,
Fi
ga
ro?
Come
to
ro?
Come
to
ro?
Come
to
me,
Fi
ga
me,
Fi
ga
me,
Fi
ga
3
3
T 3
8
Where (ad lib. shouts)
are
you,
Fi
ga
you,
Fi
ga
3
dolce
B
Where
3
are
3
3
3
I div.
Vn.
3 3
3
3
unis.
II dolce
Va.
Vc.
tutti, ord.
Cb.
pizz.
lis ten to them.
336
1 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Fl.
2
1 Ob.
2
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2
1
3
Tpt. in C
2 3
1
3
Tbn. 2 3
Timp.
Perc.
1 2 3
(muted brass)
3
Synth.
3
8va
Piano
3
(The chase resumes.)
Figaro 3
A
dor a ble! 3
3
S 3
Stop,
3
Fi ga ro!
There
Chorus of Pursuers
3
is
my
Fi
ga
ro.
Come
3
3
to
3
me,
Fi
3
ga 3
A
Stop,
Fi ga ro!
There
is
my
Fi
ga
ro.
Come
to
ro.
Come
to
ro.
Come
to
me,
Fi
me,
Fi
me,
Fi
ga
3
3
T 3
8
Stop,
Fi ga ro!
Stop,
Fi ga ro!
3
There
is
There
is
my
Fi
ga
my
Fi
ga
3
ga
B 3
I Vn. II
Va.
Vc.
3
3
3
3
ga
337 Flute 2 to Piccolo Fl.
138
1 2
1 Ob.
to English Horn
2
1 Cl. in B
sub.
possibile
sub.
possibile
2
1 Bn.
2
3
3
3
3
1 Hn. in F
possibile
3 3
2 possibile
1. Tpt. in C
1 2
Tbn.
1 2
a2
a2
Glock.
Perc.
1 S.D.
3
(muted tpts., tbns.)
Synth.
(tpts.)
8
Piano
(Figaro singing while running.)
Figaro
What pas sion.
It’s
mar
ve lous!
Here’s
Fi
ga
ro,
Chorus of Pursuers
S
ro.
Stop!
Stop,
Fi ga ro!
Stop!
ro.
Stop!
Stop,
Fi ga ro!
Stop!
ro.
Stop!
Stop,
Fi ga ro!
Stop!
ro.
Stop!
Stop,
Fi ga ro!
A
T 8
B (Ghosts point to parts of the stage.)
Stop!
Opera Ghosts
S
A
Fi ga ro’s there!
Fi ga ro’s
T 8
B
Fi ga ro’s where? I sub.
Vn. II
Va. pizz.
Vc. pizz.
Cb.
pizz.
Fi ga ro’s here?
338 Piccolo Picc.
Fl.
1
Ob.
1
E.H.
1 Cl. in B
2
1 Bn.
2 3
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
( =
)
Glock.
1 Tamb.
Perc.
2 (S.D.)
3 (piano)
(horns)
Synth.
Piano
Harp
Figaro
Your
Fi
ga
ro.
Chorus of Pursuers
S
Stop,
Fi ga ro!
Stop!
Stop!
Stop,
Fi ga ro!
Stop!
Stop!
Stop,
Fi ga ro!
Stop!
Stop!
Stop,
Fi ga ro!
Stop!
Stop!
A
T 8
B
Opera Ghosts
S
Fi
ga
Ro’s where?
Fi
ga
ro’s here?
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
A
near!
Fi
ga
ro’s
past!
Fi
ga
ro,
Fi
ga
ro,
T 8
Fi
ga
ro’s there!
Fi
ga
ro’s near!
B
Fi
ga
ro’s
fast!
Fi
ga
ro’s
gone!
I Vn.
sub.
arco
II sub.
Va. (pizz.)
arco
(pizz.)
arco
sub.
Vc. sub.
Cb. sub.
339
Picc.
Fl.
1
Ob.
1
E.H.
1 Cl. in B
2
Bn.
1 2
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2 (Glock.)
1 (Tamb.)
Perc.
2 (S.D.)
3
Synth.
Piano
Harp
Figaro
Chorus of Pursuers
S
Stop!
Fi ga ro!
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Fi ga ro!
Stop!
Stop!
Stop!
A
T 8
B
Opera Ghosts
S
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro
Fi
ga
ro,
Fi
ga
ro
Fi
ga
ro,
Fi
ga
ro
Fi
ga
ro,
Fi
ga
ro
A
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
T 8
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
B
I Vn. II
Va.
Vc.
Cb.
Fi
ga
ro,
Fi
ga
ro,
Fi
ga
ro,
340
139
= 96 to Flute
Picc.
Fl.
1 *Rhieta sound [A]
Ob.
1 *Rhieta sound [A]
E.H.
1 Cl. in B
2
1 Bn.
2
1 Hn. in F
2 *with straight mute [A]
1 Tpt. in C
2
1 Tbn. 2
Timp.
1
Perc.
2 Low Drum, Dumbec [A]
3
(COARSE OBOE)
Synth.
[A]
Harp
[A]
A
G
A
(A marching Rhieta has been waiting for their entrance. The opened curtain starts them playing (and marching.) They parade between Figaro and his persuers, blocking them. The persuers (and Figaro) are stunned by this intrusion and freeze in position. During the remainder of the act the “musicians” march around the stage providing Figaro with a constantly moving barrier from his foes.)
(The “Rhieta” Orchestra is made up of members of the chorus that are not already onstage as guests of the Pasha. composed mostly of sopranos and tenors, some altos and baritones may be needed to add volume to the lower notes. They all sing without words (into kazoos) imitating the oboes (note “bleating” sounds). This should be a very large group —at least half of the chorus— and should make a very large sound. The kazoos are diguised —by black cardboard tubes— to look like oboes. The players are in Arab dress.)
= 96
[A] 1 solo
I Vn. II [A] 1 sola
Va.
[A]
1 solo
Vc.
Cb. *Play only if necessary to support “Rhieta” (kazoos) marchers.
G D
341
140 Presto ** Fl.
1 2 [B]
Ob.
*
1
E.H.
Cl. in B
1 2
Bn.
1 2
Hn. in F
1 2 (with straight mute)
1 (with straight mute)
Tpt. in C
2 (with straight mute)
1 (with straight mute)
Tbn. 2
Timp. Tamb.
2 Perc.
(Dumbec)
*
3 (Low Drum) [B]
Synth.
Piano
[B]
Harp
Chorus of Pursuers
S
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
A
T 8
B
Presto 1 solo
[B]
*
[B]
*
[B]
*
I Vn. II 1 sola
Va.
gle altre
1 solo
Vc.
gli altri
Cb. *Repeat (AAB) for duration of extention line. (Strings through the end of Act I, Oboe and English Horn until 141, Percussion until 142.) **Do not synchronize pit orchestra with rhieta orchestra.
342 Flute Fl.
1 2
Ob.
1
E.H. 3
Cl. in B
1 2
Bn.
1 2
3
a2
3
3
3
3
Hn. in F
2 1
Tpt. in C
1 2
Tbn.
3
3
3
3
3
3
1 2 Xyl.
1 (Tamb.)
Perc.
2 (Dumbec)
3 (Low Drum)
(tpts., tbns.)
3
Synth.
3
Piano
Harp
Florestine
3
Go!
Fi ga ro,
Go!
Fi ga ro,
Go!
Fi ga ro,
Go!
Fi ga ro,
3
go!
Fi ga ro!
go!
Fi ga ro!
go!
Fi ga ro!
go!
Fi ga ro!
Rosina 3
3
Susanna 8
3
LĂŠon
3
3 8
3
S Chorus of Pursuers
3
Stop,
Fi ga ro!
Stop!
Stop!
Stop!
Stop!
3
Fi ga ro.
3
3
A
Stop,
Fi ga ro!
Stop,
Fi ga ro!
Stop,
Fi ga ro!
Stop!
Stop!
Stop!
Stop!
Fi ga ro.
Stop!
Stop!
Stop!
Stop!
Fi ga ro.
Stop!
Stop!
Stop!
Stop!
Fi ga ro.
T 8
3
3
B 3
3
Vn. I Solo Vn. I gli altri Vn. II Va. sola pizz.
arco
Va. le altre 3
3
3
3
Vc. solo pizz.
arco
Vc. gli altri pizz.
Cb.
343
141 Fl.
1 2
Ob.
1 2
Cl. in B
1 2
3
3
a2
Bn.
3
a2
1 2 3 3
Hn. in F
3
1 2 3
Tpt. in C
1 2
3
3
a2
Tbn.
a2
1 2 3
3
3
3
Xyl.
1 (Tamb.)
Perc.
2 (Dumbec)
3
3
3
3
3 (Low Drum)
Synth.
3
3
8va
Piano
ad lib. shouts of encouragement
Florestine
Fly!
3
Fi ga ro,
fly!
3
Fi ga ro, ad lib. shouts of encouragement
Rosina
Fly!
3
Fi ga ro,
fly!
3
Fi ga ro, ad lib. shouts of encouragement
Susanna 8
Fly!
3
Fi ga ro,
fly!
3
Fi ga ro, ad lib. shouts of encouragement
LĂŠon
Fly!
8
3
Fi ga ro,
fly!
3
Fi ga ro,
ad lib. shouts ro!
Chorus of Pursuers
S
No!
No!
3
Stop, Fi ga ro!
No,
no,
my
3
Fi ga ro!
3
3
ad lib. shouts
A
No!
No!
Stop, Fi ga ro!
No!
No!
Stop, Fi ga ro!
No!
No!
Stop, Fi ga ro!
No,
no,
my
Fi ga ro!
No,
no,
my
Fi ga ro!
No,
no,
my
Fi ga ro!
ad lib. shouts
T 8
3
3
ad lib. shouts
B 3
3
S Opera Ghosts
Dead. A
Bored. T 8
Bored.
B
Egg. Vn. I Solo Vn. I gli altri Vn. II Va. sola Va. le altre 3
3
Vc. solo div.
Vc. gli altri 3
(pizz.)
Cb.
3
3
arco
3
344 Flute 2 to Piccolo Fl.
1 2
Ob.
1 2
1 Cl. in B
2
1 Bn.
2 remove mute Tpt. in C
Tbn.
1 2
open
3
open
3
1 2 Xyl.
1 Perc.
(Dumbec, Low Drum)
3 (muted tpts.)
3
Synth.
3
8va
Piano
Harp
Woman with Hat: (outraged)
Woman w. Hat
3
This
(ad lib. shouts)
is
not
o
pe
ra!
Others (ad lib. shouts)
Pursuers Three Chattering Women:
3 Chattering Women
S
3 3
Look at Fi ga ro… (laughter) S 3
3
Look at Fi ga ro… (laughter) A 3
3
Opera Ghosts
Look at Fi ga ro… (laughter) S
Rug. B 3
Po
3
ta to.
Vn. I Solo Vn. I gli altri
Vn. II Va. sola pizz., ord.
arco
Va. le altre
Vc. solo arco
Vc. 4gli altri 1 solo, sul pont. tutti, pizz.
Cb.
arco
pizz.
345
molto rall.
Piccolo
142
a tempo
Picc.
Fl.
1
Ob.
1 2
Cl. in B
1 2
3
3
3
3
3
a2
3
Bn.
1 2
3 3
Hn. in F
1 2
Tpt. in C
1 2
Tbn.
1 2
a2 3
1.
Timp. Xyl.
Trg.
1 Cast.
Perc.
2 (Dumbec and Low Drum)
Tamb.
3 3
(picc. fl., 8va (w.w., hns.)
Synth.
3
3
Harp
(Other ghosts ad lib. cries, cheers, bravos, applause‌)
Marie Antoinette: M.A.
I love it! I love it!! Woman w. Hat
Wag ner
is
o
pe
ra!
Florestine
3
Go!
Fi ga ro, Go!
Go!
Fi ga ro, Go!
Go!
Fi ga ro, Go!
Go!
Fi ga ro, Go!
3
Fi ga ro.
Rosina 3
3
Fi ga ro.
Susanna
LĂŠon 8
3
3
3
Fi ga ro. 3
Fi ga ro.
Pasha:
Pasha
Hay
Page: (playing Crotale) Page
ro!
Chorus of Pursuers
S 3
No!
No!
Stop, Fi ga ro.
No!
No!
Stop, Fi ga ro.
No!
No!
Stop, Fi ga ro.
No!
No!
Stop, Fi ga ro.
A 3
T 8
3
B
molto rall.
a tempo
3
Vn. I Solo 0
0
0
0
0
0
Vn. I gli altri Vn. II Va. sola div., arco
Va. le altre Vc. solo unis.
Vc. gli altri div.
Cb.
tutti, unis.
pizz.
346
Picc.
3
3
marcato Fl.
1
Ob.
1 2
Cl. in B
1 2
3
3
3
3
2.
2.
1 2
Bn.
Hn. in F
1 2
Tbn.
1 2
3
3
3 3
3
3
1.
1.
**
Timp. (Trg.)
1 (Cast.)
Perc.
2 Tamb.
3 8va
3
(WILD RUMBLE)
Synth.
3
3
marc.
*
8va
Piano
Florestine
3
Fly,
Fi
ga
Fly,
Fi
ga
Fly,
Fi
ga
Fly,
Fi
ga
3
ro,
fly!
Fi
ga ro!
ro,
fly!
Fi
ga ro!
ro,
fly!
Fi
ga ro!
ro,
fly!
Fi
ga ro!
Rosina 3
3
Susanna
Léon
3
3 8
3
3
Figaro: (standing in balcony)
Figaro
I’m Pasha
di
ba ka lim
ge
le
cek
oy
un
bas
la
sin.
Page
ro! S
Chorus of Pursuers
3
No!
No!
No!
Fi
ga
No!
No!
No!
Fi
ga
No!
No!
No!
Fi
ga
No!
No!
No!
Fi
ga
ro!
A 3
ro!
T 8
3
ro!
B 3
Vn. I Solo Vn. I gli altri martelé
Vn. II
0
martelé
Va. sola Va. le altre Vc. solo *
Vc. gli altri 0
Cb. *Slow rising cluster. **Play on smaller timpanum to enable higher glissando in final measures.
arco
marc.
ro!
347
143
*
Picc. 8va
Fl.
1
Ob.
1 2
Cl. in B
1 2
3
3
2.
Bn.
3
1 2
3 3
Hn. in F
3
1 2 (open)
1 Tpt. in C 2 3
3
3
3
3
with straight mute
1 molto
with straight mute
Tbn. 2 Timp.
Xyl.
1 S.D.
Perc.
2 Tamb.
3
3
Synth.
8va
Piano
Harp
Woman w. Hat
This Florestine Rosina Susanna
is not Florestine, Rosina, Susanna:
o
pe ra! 3
Go!
Go!
Go,
Fi
ga ro!
Go!
Go!
Go,
Fi
ga ro!
LĂŠon
3 8
Figaro
home!
I’m
home!
Pasha Page
Chorus of Pursuers
S
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
A
T 8
Opera Ghosts
B S
Dead! B
Egg! Vn. I Solo Vn. I gli altri Vn. II Va. sola Va. le altre marc.
Vc. solo Vc. gli altri Cb. *Omit this note, if necessary, for breath.
348
accel.
Picc. 8va
Fl.
1
Ob.
1 2
Bn.
8va
3
3
Cl. in B
8va
3
1 2
1 2
Hn. in F
1 2
Tpt. in C
1
3
3
3
3
3
3
3
3
3
3
3 3
2 3
3
1
3
3
3
3
3
3
molto
Tbn. 2 Timp. Xyl.
1 S.D.
Perc.
2 (Tamb.)
3 3
Synth.
8
Piano Harp Woman w. Hat This
is
not
o
pe ra!
Florestine Go!
Go!
Go!
Go!
Go!
Go!
8
Go!
Go!
Go!
8
Go!
Go!
Go!
Rosina
Susanna Léon
Figaro I’m
Chorus of Pursuers
Pasha Page
home!
I’m
home!
3
S A Stop,
Fi
ga ro!
3
Stop!
Stop!
Stop!
Stop!
Stop!
Stop,
Fi
ga ro!
3
Stop!
Stop!
Stop!
Stop!
Stop!
Stop,
Fi
ga ro!
3
Stop!
Stop!
Stop!
Stop!
Stop!
T 8
B
Opera Ghosts
S Rug!
Dead!
A Bored!
3
Bored!
3
T 8
Bored!
3
Bored!
3
B 3
S S A
Po
ta
Egg!
3
to!
accel.
Vn. I Solo
3
Look at
Vn. I gli altri Vn. II Va. sola Va. le altre tutti
Vc. (non div.) 0
Cb.
3 Chattering Women:
(
molto)
3
Fi
ga ro!
349
(accel.) [BLACKOUT]
Picc.
Fl.
1
Ob.
1 2
2. 1. 3
Cl. in B
a2
1 2 3
Bn.
1 2
Hn. in F
1 2
3
3
3
3
a2
3
3
3
3
3
a2
1 Tpt. in C 2 1 Tbn.
molto
2 Timp. (Xyl.)
1 (S.D.)
Perc.
2 (Tamb.)
(omit if necessary)
B.D.
3 (HORNS, TROMBONES)
Synth.
8ba
Piano
8ba
Harp
Woman w. Hat
Not
Florestine Rosina Susanna
o
pe ra!
8
Go!
Go!
Go!
8
Go!
Go!
Go!
LĂŠon
Figaro
Chorus of Pursuers
Pasha Page (div.)
S A T B
Stop!
Stop!
Stop!
Stop!
Stop!
Stop!
Opera Ghosts
S Dead!
Dead!
A Bored!
3
T 8
Bored!
3
B Egg! S S A
accel.
Vn. I Solo Vn. I gli altri
Vn. II
Va. sola Va. le altre
Vc. increase number of bowings
Cb.
Egg!
3
Look at
3
Fi
ga ro!
[BLACKOUT]