All language subtitles for Mozart in the Jungle s03e01.eng

Synced & corrected by -robtor-
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Man: Maestro! [chuckles]

Grazie.

Maestro, welcome to Venice.

I'm Beppi Bertelli.
How tremendous to see you here.

- Yes.
- Mind your step, slippery.

- Ah, that's okay.
- How was your flight?

Are you jet lagged?

No jet lag.

Ah, the mark of a good conscience.

You know, Alessandra
will be so exited to see you.

We are all so delighted. Wait.

[chuckles]

You see?

I roll out the red carpet for you.

Okay.

Prego. Let me step out.

Only you, maestro,
you are the only conductor

she would sing with.

"Please, Beppi, bring me Rodrigo.

"Only then will I do the concert."

I understand, I understand.
I'm flattered.

Never flatter. Not with a genius
such as yourself.

No, I... Now, may I present to you

- a couple of tiny items of advice?
- Yes, yes, yes.

Most of the gondoliers
are thieves and rogues.

If you must take a ride on a gondola,

I beg you, negotiate the price first.

That's why I brought my bicicletta.

- Bravo.
- Eh?

Beppi: Second,

if you are ordering a pasta dish

with seafood or lovely shrimps
or clams or cuttle fish,

which I adore, do not,

I repeat, do not ask for
parmigiano cheese

to put on the pasta. This is not done.
[chuckles]

- It will insult the chef.
- I don't want to insult the chef.

Uh, this way, eh?

Mm, this way.

[woman vocalizing]

And one last little thing.

Whatever you do, please...

do not make love with her.

[speaks Italian]

No fornicate.

No fornicate. Grazie.

- Okay.
- What a great pleasure.

What a tremendous honor.

Mm-hm, yes.

This concert will be legendary.

Legendary. And then we talk, uh?

- After...
- Maybe.

[sighs]

Fornicate.

No fornicate.

[woman singing aria]

Buongiorno.

Buongiorno.

Maestro.

How delightful you're here.

Oh, yes, this is so delightful.

It is mythological for me.

- [chuckles]
- This is such an honor,

such a pleasure to meet you.

I recognize the recording.

"Les Filles de Cadix."

Vous chant? a La Palais
Garnier, 2002. Right?

Very good.

Yes. I wanted to ask you,

did you have a slight cold that evening?

I had a terrible cold.

I finished the performance
and collapsed.

Yes, because your voice
had a beautiful...

una bellissima tessitura.

You speak Italian?

[speaking Italian] _

We speak in English.

More simple.

- Have you eaten?
- No.

I was making us a little lunch.

- Come.
- Okay.

- Come.
- Si.

Would you mind tying this for me?

Oh, yes, yes.

Grazie.

Ai.

Oh, I like your kitchen a lot. A lot.

It's the place in the house
where I feel most comfortable.

Mm.

Everywhere else,
I'm a peasant in a palazzo.

You know, right now I'm in the mood
for no home. You know?

Vagabond style.

But you should try owning

a 600 year old house in Venice.

Everything is sinking.

The first floor is
flooded half the time,

the mold makes you sneeze,

but this is my hometown, and I love it.

And that is important, no?

- Home.
- Oh, yes.

Yes, it is very important.

Yes.

A little pasta nera with cuttle fish.

Hope you like it.

Mm, it smells so good.

[chuckles]

Would you care for some parmigiano?

Mm, no, niente, no.
Never with fish. Thank you.

Grazie.

- Maestro.
- Mm?

I'm sure you have a question for me.

After four years, can I still sing?

Well, I'm sure you can
still sing, of course.

If not, you would never
attempt to do this concert.

Well, people do foolish things.

Perhaps I can still
sing in my shower. No?

But everyone believes they are a great
singer in the shower.

I was sorry to hear
about your orchestra.

- Mm.
- I admire what you're trying to do

to bring... How you like to say?
The blood to that

sad old symphony.

It's very sad.

But it was getting less sadder

because we were getting better,

but we got strangled by the red tape.

- You know?
- Yes.

The fucking red tape.

Money, money, always money.

I know.

Beppi wants me to come back,
to go on tour,

to do this concert,
to be La Fiamma again,

because of the money.

How is the pasta?

It is so good.

Not overcooked?

It is excellent. Just right.

My dear maestro, I'm very sorry that

you have come all this way for nothing.

For nothing?

I'm afraid that it is impossible

that this concert should proceed.

- No, but...
- I have enjoyed meeting you.

You are clearly very brilliant.

And you'll have many
triumphs in your future.

Now I must do the dishes,

and then take little nap.

And please tell Beppi finita la comedia.

Alessandra.

The pasta was overcooked.

By at least three minutes.

Four and a half.

Well, I'm not here to
conduct your cooking.

And if my singing is overcooked.

I will never allow that.

Never.

You want to talk about the blood,

well, my heart,
it has been bleeding for a while.

And I think your voice
is the only thing that can save it.

I fell in love with your voice

the first time I heard it.

I was 13 years old.
Maestro Rivera brought it.

And it was you in "Tosca."

I heard it over and over again.

I would imagine these things.

I would do things that...

I'm not gonna tell you
what I did, but...

but the moment that I heard
that you stopped singing,

I wept.

You can come up with many reasons

why not to do something.

But the real reason why
to do something important,

there's only one reason.

And what is the reason?

You know.

But, dear maestro,

I'm sorry but if you can't stand tears,

you should stay away from the opera.

Goodbye.

[traffic noise]

Woman: Andrew is running late,

he said we should do
sound check without him.

What a shocker.

[chuckles] He's probably taking

a few hours extra sleep at the Ritz.

No, he's gotta sleep off
the Dom Perignon.

Ladies, ladies, ladies, all right.

Let's pick up the tempo on this one.

We want to get to my solo quicker.

Remember, it's the
Andrew Walsh Ensemble,

not the Andrew Walsh Ensemble ensemble.

- [laughter]
- Okay, let's read the score.

Uh, bullshit, bullshit, bullshit,

my solo.

Okay, and then bullshit, bullshit,

ah, yeah, my solo.

[chuckling]

Maybe we just call it the
Hailey Rutlege Ensemble.

Sorry.

No. No, Hailey,
don't stop on my account.

I was enjoying it. It's hilarious.

- I was just, uh...
- No, you were just

trying to make me look like an asshole.

It's not that hard.

Anyway, the traffic
was better than I thought,

so I'm here.

Hailey, is it true I do that,
uh, Stevie Wonder thing?

[grunts] With my head and... No?

Don't answer.

All right, we have a lot of work to do.

We leave Austria tomorrow,

and then arrive in Venice
for the festival.

And we need to be ready
to play with shock and awe.

And awe stand for, ladies?

All: Andrew Walsh Ensemble.

Exactly.

So, Hailey, is there a particular piece

that you feel that
I'm rushing the tempo on?

Uh...

Hey, I'm all ears. Whaddaya got?

Maybe the Vivaldi piece?

See, that's a question.

Can you be definitive?

You are fucking up the Vivaldi.

No, because I don't think that you are

fucking up the Vivaldi piece,

- I just...
- I'm just yanking your woodwind, Hailey.

Easy. Easy.

- It's just...
- Uh, yes?

I just think that we're taking

a similar approach tempo wise

um, to the Faur?.

And that's not how Maestro
DeSousa would do it?

Probably not. Uh, yeah.

Well, maybe I just have a
greater sense of urgency

than old Rodrigo does.

Uh, in fact, let's start
with the Faur?, shall we?

Follow me, ladies.

And gentleman?

Debatable.

[Faur?'s "?l?gie"]

Que lindo.

[man singing in Italian]

Some people shouldn't be
allowed to sing.

I couldn't agree more.

And some people should not
be allowed to conduct.

I hope you're not
referring to me, Wolfgang.

Well, I'm not referring to myself.

Is that the way you're gonna be?

Why? Why? Why? Why after so many years,

you're still like a spoiled brat?

Why?

Why do you always have to
smell your own farts?

- Deserter.
- De... I'm not a deserter.

Don't call me a deserter.

I'm... I'm loyal.
I am soldado de la musica.

Soldado de la musica. Muy soldado.

So sensitive.

Of course, I had a soft
spot for singers, too.

And if I can tell you one thing,

they're all crazy.

And you know, I... I've never...

I've never been with a, you
know, close to a... to a singer.

I don't know why.

Maybe you never will.

You're off to a pretty bad start.

- Mm.
- Soon, no one,

no one will want to play with you.

I think this young lady

might have something for you.

La Fenice, midnight.

[dog barking]

[speaks Italian] Sit.

Ave Ma...

Ave

Maria

Gratia plena

Maria

Gratia plena

Maria

Gratia plena

Ave

Ave dominus

In hora

Hora motris nostrae

In hora nostrae

Ave

Maria

[clapping]

Maestro, my hero.

She's here.

She appears to be happy.
She's ready to rehearse.

We will have a great concert,

an historic event.

Yes, Beppi, we will, we will.

But there's a lot of work to do.

- Of course.
- A lot.

- Of course.
- A lot of work to do.

- Yes.
- Is this the conservatory?

Yes, the music school.

Everyone, this is my maestro,

and I trust him in every single way.

Okay, well, here is the program

we will be presenting.

Okay. Yes. I saw it this morning.

And, um...

It's like the greatest hits, no?

These are many of the great arias

which La Fiamma has been know for

over her illustrious career.

Yes.

What? You do not
approve of these choices?

It's just that I think that we can

present a new Alessandra

that doesn't compete with the
old Alessandra, you know?

You think I can no longer
sing these roles?

No, yes, I'm sure you can.

But perhaps not as good as you once did.

- Hey.
- But there are many, many good roles,

amazing roles, that before

you couldn't be able to sing.

And now you can.

What happened to the man
that was too gentle

to tell my my pasta was overcooked?

These new arias. What are you thinking?

"Samson and Delilah," for example.

It's a mezzo soprano role.

No! [speaks Italian] _

Or a new piece by
a contemporary composer.

Contemporary composer?

Perhaps if there was any composer alive

as great as Puccini.

Oh, but how can they be great

if none of the greatest
performers perform their work?

But what you don't understand, Maestro,

is that the Italian opera audience

is very, very big here.

My maestro has spoken.

How dare you question him.

I only want the best for you, my dear.

You want to destroy my confidence.

You care nothing about me.

For you it is just money, money, money.

Alessandra...

[speaking Italian] _

Bene. Maestro, thank you
so much for educating me.

I'm your humble servant.

Please commence to create the magic.

[speaking Italian]

- [speaking Italian]
- Hmph.

Good.

I thought it was, like,
an older looking city.

- Yes.
- [laughs]

All right, give me
innocence with your mouth.

Oh, my mouth.

Great. Now give me slutty.

- Yes.
- Yeah, right?

Work that angle.

Okay, I want to cross off every
site on my Venice to do list,

so we should probably go.

Well, Piazza San Marco is done.

- Okay.
- Where should we go next?

- Uh, Ponte Rialto.
- Great.

- Ponte Rialto.
- How long is this list?

It is very long-ay, long-ay.

There's no distinction, I feel,

like, between the pieces.

He's just doing Sibelius
the same as he's doing Mozart,

the same as he's doing the Ravel,

and I resent him for that.

And do you notice that every
time you have sex with him,

it's exactly the same?

I only had sex with him once.

You've only had sex with him once?

- Yes!
- Oh, okay.

Well, I can tell you from experience,

it is always exactly the same.

- Well...
- Every single stage.

Did he paint f-holes on your back?

- Yes, he did.
- Oh, fuck!

How do you know that?
He did that for you?

- He had to shave my back first...
- Humiliating.

- 'Cause it's hairy, though.
- Oh, my God.

- Yeah.
- Did he do it himself?

- Yeah, he did. Like, lathered it up...
- Okay, I like him, like,

- four more points because of that.
- Applied it on.

- What a sicko.
- And razored it off slowly.

- The Rialto Bridge.
- Done.

- Done.
- Kind of a bust.

- Kind of.
- On to the next.

[hip hop]

Sebastian: Oh, check him out.

That mime is hot.

Hello.

My friend over there
thinks that you are hot,

so I think that you should
come to our concert tonight.

- So...
- I think you're hot.

Oh, my God, you speak. Wow. [laughs]

I'm from Belgium,
I'm here for the festival.

Oh. Cool.

Would you maybe want to come
for a coffee back to my hotel?

Is it like a real... hotel, or...?

- It is a real hotel.
- [chuckles]

Okay.

As long as he didn't mime
putting on a condom.

Stop. Move. Quicker.

[laughing]

Hey. The shellfish platter on this one

is like 10 Euro cheaper.

Oh, great. Cheap shellfish.

Always the way to go.

Ooh. Beginning to feel a bit nauseous.

I hope those clams were okay.

They were a little sticky.

You're probably just feeling nauseous

from being such a tourist.

I like music festivals.

Because seldom
you get to see good things.

But then you get to see
terrible things on and on,

you know, horrible things.

Really bad th... Unbearable things.
Look at that.

The Andrew Walsh Ensemble
is playing tonight.

What the fuck?

I have a friend who plays in that show.

Perhaps we go?

Okay.

I wish our performance
was not at La Fenice.

When the audience is there...

the critics...
it feels like a cage to me.

Well, let's get out of the cage.

Let's do something about this...

Man: Alessandra.

[speaking Italian]

[shouts in Italian]

Hey, hey, is this guy bothering you?

[speaking Italian]

Maestro. I will be seeing you.

And you will be hearing me.

You don't know shit about opera.

And you don't know shit
about the universe.

You know, dark matter.
We don't know about it.

We do not know.

We still have a lot of
things to discover.

Rodrigo: Who's that guy?

He's the head of a very awful claque.

They want money,

or they'll boo you
during the performance.

If they boo you during the performance,

I'll go down in the audience
and I'll kick him in the balls,

you know, and I'll make him a castrati.

I have so many new pieces to learn.

And my voice, I'm not prepared.

- No.
- I can't give them what they want.

Wait, no, no, no. Of course
you can give them what they...

Don't think about what they want.

Don't do it for them.

Do it for you.

Do it for the blood.

Or do it for me.

[woman singing]

She should sing instead of me.

Okay. Why don't you...

Why don't you join her?

- I can't.
- No, you can. You can.

I'm your maestro, right?

[chuckles]

- Now, woman.
- [laughs]

["Musetta's Waltz" from La Boheme]

Non le vuoi dir

Non le vuoi dir

So ben

Ma ti senti

Morir

[applause]

It's La Fiamma.

Oh, my God. Ti amo.

Ti amo anche io.

Grazie.

- Alessandra, yes.
- [laughs]

Bien, bien.

Grazie. Grazie.

Yes.

Alessandra:
I wanted to share this place,

because it is very dear to me.

Che bello.

- Bello, no?
- Si.

It used to be a nunnery.

And I lived up there
in that room for two years.

You were a nun?

My ex wife is a nun.

It is no longer for nuns.

It was for people who could not
stand to live anywhere else.

And I went there after
my failure on stage.

You understand?

Yes, I understand.

Singing for me was everything.

And then I found I could not sing.

When I lived there,
I could not feed myself.

I needed help to bathe,
to put on clothes,

to go to the bathroom, even.

No one know this.

No one except Beppi.

He stuck with me.

Now you.

Tell me something about
you that no one knows.

But I'm nothing.

I'm just some musical notes
that people play with.

And actually, I've been
thinking a lot about my mentor,

Maestro Rivera.

He's very old and he's very ill.

And he invited me to go back to Mexico

to take over the orchestra.

The one where I started.

And I said no.

And I went back to New York

to be with an orchestra
that doesn't play.

Rodrigo, stay con me.

You must move into my palazzo,

so we may practice night and day.

Live and breathe the music.

Oh, la mami. Yes.

[groaning]

Hailey: Sorry. I'm... I'm so sorry.

- Nice of you to join us.
- I got on the... Sorry.

I got on the wrong vaporetto.
And then...

Well, you missed the sound check.

I know. I really don't
feel well right now, either.

Well, neither do I,
because the fucking oboist,

who I added to the program

because I believed in her talent,

turned out to be a complete flake.

[applause]

- Ah, shock and awe.
- All: Shock and awe.

Now, go, go.

- Hey. Nice job, rookie.
- Thanks.

[applause continues]

[thunderous applause]

[cheering]

- [whispers] Clams?
- Yeah.

Which one is your friend?

She's the one that plays the oboe.

She's your lover.

Hailai? No, no, she... she's my proteg?.

Very innocent.

Alessandra: Do you like innocence?

It appeals to your depravity.

It is not depravity. She plays the oboe.

[applause]

[panting]

Hey. I am so, so sorry.

I can play the second half

of the concert, though, I think.

I think you can't play the second half.

I think you're done on this tour.

I will definitely miss
the conducting lessons, though.

Look, I'm really sorry,
I just didn't want to barf on stage.

So you ran off during my solo.

Oh, my God, your solo,
your solo, your solo.

It's always about your solo.

- Yes, and why do you think that is?
- Uh...

Because it's the Andrew Walsh Ensemble.

The Andrew Walsh Ensemble,
that's what people pay for.

Rodrigo: Yes.
And we want our money back.

Rodrigo?

I came to see his proteg?.

Oh, shit.

Oh, my God, it's... it's...

Yes. La Fiamma.

What an honor.

Did you catch any of the first half?

Yes.

I saw you sawing on the cello

like you were cutting down a tree.

Yes, I'm a very expressive player.

- Always have been.
- Okay, I'm sorry.

I think I'm gonna be
sick again, I need to...

You're still fired.

- No, she quits.
- No, no, no, no.

- Watch. She quits.
- I... I really...

- You quit, Hailai. She quits.
- I need this job.

- I really need this job.
- She quits.

- She... You quit!
- You want to mix it up, Maestro?

- You want to mix it up?
- Yeah, whenever.

- Yeah?
- Yo-Yo Ma wanna be.

- Yo-Yo Ma?
- Yeah.

- Yo mama, Yo-Yo Ma.
- You know what?

- What'd you say?
- I want to...

Sometimes I have trouble
with your accent.

Shh.

Oh.

Ciao. Ciao.

["Pa-pa-pa" from The Magic Flute]

Now what the fuck am I gonna do?

Hailey.

Come with us.

Yes, Hailai. We'll take care of you.

In my palazzo, there are many rooms.

Okay.

Just don't throw up in the taxi, okay?

'Kay.

But if you throw up, you tell me. Okay?

It's okay, it's okay.

[speaking Spanish]

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