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Amadeus · 1984 — 第 5 / 25 章 · 5'02" · B2

Mozart Meets the Emperor, Explained：down to business

Mozart arrives at court and is introduced to Salieri and the Emperor's men. The Emperor gets down to business and commissions an opera, but the room argues over German or Italian, and over whether a harem story belongs on the national stage. Mozart gives as good as he gets: "That's not love. It's rubbish!"

あらすじ

At court, Mozart is presented to Emperor Joseph and introduced to the nobles and musicians, including the court composer Salieri. The Emperor says, "Down to business," and offers Mozart an opera commission. Mozart wants it in German and describes a story set in a Turkish harem, which the court finds indecent. He argues back and, at the end, proves he has the music in his head after one hearing.

MeetingsNegotiationExplainingPersuadingB2slowbritishClean
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注目の表現

there it isdown to businessvote forlibretto

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このシーンの表現

down to business

start the real work

After the greetings, the emperor gets down to business and commissions an opera.

Let's get down to business.

このシーンの他の表現

  • there it is

    here it is, that is that

  • vote for

    choose by voting

  • libretto

    the text of an opera

  • set in

    take place in

  • indecent

    offensive and improper

このシーンのメモ一覧

69 行のセリフに 16 件のメモ

表現 · B1there it is

here it is, that is that

The court uses there it is whenever something is handed over or concluded.

Well,there it is.
表現 · B2get down to business

start the real work

After the greetings, the emperor gets down to business and commissions an opera.

Down to business. We're going to commission an opera from you.
表現 · B2vote for something

choose by voting

Did we vote in the end for German or Italian?
表現 · B2a libretto

the text of an opera

Mozart says he has already found the most wonderful libretto.

Because I've already found the most wonderful libretto.
表現 · B2be set in a place

take place in

It's set... The whole thing is set in a...
表現 · B2in a seraglio

in a harem

In a harem,Majesty. In a seraglio.
発音not finally

The t in not is often dropped before finally.

No,my dear fellow,the language is not finally the point.
表現 · B2appropriate for something

suitable for

Do you really think that subject is appropriate for a national theater?
文法 · B2that subject is appropriate for

noun clause: The that-clause is the object of think.

Do you really think that subject is appropriate for a national theater?
表現 · B2highly + adjective

very, to a high degree

It's not indecent. It's highly moral,Majesty.
表現 · B2proper + noun

genuine, traditional

It's full of proper German virtues.
文法 · B2Watching Italian opera

participle phrase: The participle phrase sets the scene of watching.

Watching Italian opera, all those male sopranos screeching...
表現 · A2choose something

pick one option

Majesty,you choose the language.
表現 · A2in one's head

in one's mind

Keep it. It's already here in my head.
発音here in my

Here in my head runs together.

Keep it. It's already here in my head.
表現 · B2on one hearing

after a single listen

What? On one hearing only?

「Mozart Meets the Emperor」を読み解く

What's really going on

The Emperor's welcome is warm, but the room is already sorting Mozart into a place. Before anything is commissioned, Salieri mentions that he wrote variations on a melody of Mozart's - a polite way of saying he knows exactly who the young man is. The business then turns into an argument about language and decorum: German or Italian, and whether a harem is fit for a national theater. Mozart refuses to be small. He mocks the court's taste - "That's not love. It's rubbish!" - yet stays charming enough to keep the commission. When he declines to take his music back, saying, "Keep it. It's already here in my head," the scene turns his confidence into the thing the court cannot dismiss.

Theme

PowerThe Emperor and court decide language, taste and who gets commissioned, while Mozart answers to their rules before he can impress them.
PrideMozart argues with the court and refuses to be modest, but his talent makes his confidence impossible to ignore.

このチャプターで学べること

  • Down to business ends the small talk.
  • Be set in always describes a work, not a person.
  • Libretto is the text of an opera.
  • The language debate hides a power struggle.

発音のポイント

  • not finally — The t in not is often dropped before finally.
  • here in my — Here in my head runs together.
He jumped into her arms and said, "Will you marry me? Yes or no?"

The Emperor's childhood anecdote about the six-year-old Mozart: already charming and absurdly direct, proposing to a grown woman on the spot.

No,my dear fellow,the language is not finally the point.

The court cuts through the German-versus-Italian argument, saying the real question is not the language but whether the subject belongs on a national stage.

Watching Italian opera, all those male sopranos screeching...

Mozart's jab at the rival tradition: he mocks castrato singers as a way of defending his own German opera and his taste.

...stupid,fat couples rolling their eyes about. That's not love. It's rubbish!

His verdict on the operatic love he is supposed to imitate - staged emotion he calls trash, delivered straight to the court.

Keep it. It's already here in my head.

Mozart hands the music back, saying he has already memorized it after a single hearing - a casual display of the talent that unsettles Salieri.

このシーンについての質問

Why does Salieri tell Mozart he wrote variations on his music?

It is a polite way of announcing that he knows Mozart's work and has already measured himself against it. To Mozart it sounds like flattery; to Salieri it is a small act of positioning.

Why does the court object to Mozart's opera idea?

The story is set in a Turkish harem, which the court finds indecent for a national theater. The argument is really about respectability and control, not about the music.

Why does Mozart want his opera in German?

He has found a libretto he loves and wants to use it. He also seems to enjoy needling the Italian-leaning court, which treats Italian as the proper language for opera.

Why does the Emperor ask Mozart to play at the end?

Because Mozart claims the music is already in his head after only one hearing. The Emperor is testing him, and the performance becomes proof of a gift the court cannot ignore.

What does Mozart mean when he calls Italian opera rubbish?

He is attacking the formula he is expected to imitate - castrato singers and melodramatic lovers. His insult defends his own taste and his claim that German opera can carry real feeling.

アマデウス · 全 25 章

すべて見る →
次のチャプター · 第 6 章made me muteSalieri Teases Cavalieri About Mozart
第 1 章trained monkeySalieri Begins His Confession第 2 章seek him outSalieri Recalls His Answered Vow第 3 章fiendMozart's Backwards Proposal第 4 章beyond his abilitiesSalieri Hears the Voice of God再生中 · 第 5 章down to businessMozart Meets the Emperor第 6 章made me muteSalieri Teases Cavalieri About Mozart第 7 章take it too hardToo Many Notes, Mozart第 8 章the fault is mineSalieri Learns Mozart Had Katerina第 9 章come flockingMozart Refuses the Committee第 10 章slips through his fingersConstanze Brings Mozart's Originals第 11 章taking dictationSalieri Reads Mozart's Manuscripts第 12 章achieve mediocritySalieri Declares War on God第 13 章explode like a bombMozart Borrows Money From Salieri第 14 章stuffs me like a gooseLeopold Visits Mozart in Vienna第 15 章sick to death ofLorl Offers to Be Mozart's Maid第 16 章go mad forMozart Defends Figaro to the Emperor第 17 章fed to the teethMozart Argues Opera With the Court第 18 章take this up withMozart's Figaro Ballet Fight第 19 章accept the factSalieri Explains the Emperor's Yawns第 20 章with your own handsSalieri's Plan to Kill Mozart第 21 章a lost causeMozart Begs the Baron for Money第 22 章in my noodleConstanze Hides the Requiem第 23 章killing meThe Messenger Demands the Requiem第 24 章cheer someone upSalieri Helps Mozart Write the Requiem第 25 章doubling the voicesMozart's Last Dictation
第 5 / 25 章 · 残り約 72 分