My husband was in the lockup for another drunk and disorderly and this time he had nearly killed a passerby under his scooter. We were a middle class couple and I had no money or connection to save Rajan my husband.The duty in charge was a tall dark middle aged man called PSI Raghav Nath. He listened to my impassioned plea with a stony face and said nothing. He was quite for about 15 minutes while I wept and begged him not to press vehicular manslaughter charges against Rajan since I knew if the news of his arrest went to his bank he would be fired and then me and our 3 year old son would be literally be on street.“Just sit here for some time,” He said and left .I looked at Rajan who was sitting in the lock up with naked hatred. Rajan was too ashamed to talk. “Saab is calling you in the verandah,” the orderly came and told me. I got up and went to the verandah behind the police station thinking that now Raghav would demand money.Outside Rahgav told me that my husband’s offence was. Even Marullo would have been just "a courtier" except the lead needs a name to call him in the second and third acts. It was the curse of the comprimario. The ones who had names were the leads, but the only time I sang those was in the deepest boonies where I was the best the cash-strapped folks could afford, and they paid so poorly I was better off financially sticking to Marullos.Actually, in Turandot my role wasn't a character at all, just a plot convenience. He comes out at the beginning of Act I to lay out what film director Alfred Hitchcock used to call the "MacGuffin," the contrivance that underlies the whole opera. In this case it's that Princess Turandot is a man-hater who's said she'll only marry a guy who can solve three riddles she's thought up. The catch is that he has just one try, and they'll chop off his head if he can't get all three. My mandarin explains all this to the chorus, which already knows it of course, but the audience gets to hear, too. Then he explains it.
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