1:32:02
My sister Antoinette is beginning
to be frightened of her own people.
1:32:08
I swear, there's nothing
like that in the piece.
1:32:11
I've taken out everything that could
give offense. I hate politics.
1:32:16
I'm afraid you're rather innocent.
1:32:19
In these dangerous times I cannot
afford to provoke our people...
1:32:24
...simply over a theater piece.
1:32:26
Majesty, this is just a frolic.
A piece about love.
1:32:31
"Love". Again!
1:32:34
And it's new!
1:32:35
It's entirely new.
The people will go mad for it.
1:32:40
I have scenes...
1:32:42
The end of Act Il, for example.
1:32:45
It starts as a duet.
A husband and wife quarreling.
1:32:49
Suddenly, the scheming maid comes in.
It's a very funny situation.
1:32:54
Duet turns into trio.
1:32:56
Then the husband's valet comes in.
1:32:59
Trio turns into quartet.
1:33:01
Then a gardener.
Quartet becomes quintet.
1:33:04
And so on, on and on.
1:33:06
Sextet, septet, octet.
1:33:09
How long do you think
I can sustain that?
1:33:13
I have no idea.
1:33:15
Guess.
1:33:17
Guess, Your Majesty.
1:33:19
Imagine the longest time
it could be sustained, then double it.
1:33:24
Well...
1:33:27
Six...
1:33:30
...seven minutes?
1:33:34
- Eight minutes?
- Twenty, sire. Twenty minutes!
1:33:39
Twenty minutes of continuous music.
No recitatives!
1:33:43
Sire, only opera can do this.
1:33:46
In a play, if more than one person
speaks at once...
1:33:50
...it's just noise.
1:33:52
But with opera, with music...
1:33:54
...you can have 20 individuals
all talking at the same time.
1:33:59
It's not noise.
It's a perfect harmony!