This afternoon I scrubbed my usual roster of Saturday victims and we hit the Metropolitan Opera HD broadcast of Don Giovanni.
I haven’t seen a full production for thirty years or more and I had forgotten everything but the high points. When I think of Giovanni, I usually smile; because of the lively Catalogue Aria (I’ve been known to refer to my own mille e tre); because of Zerlina’s masterful management of her jealous bridegroom after the Don courts her; because of the broad farce — flimsy disguises, walking statues, the iconic longsuffering manservant.
Only. For one thing, Simon Keenlyside’s Don was not the young nobleman who’d be put upon to rack up all those conquests, just as a matter of scheduling alone; he was a man well into the march toward middle age and cynical with it. His cry that he could not give up women, who were more vital to him than breath, had a desperate urgency. And his inflection of the Don’s lechery — that women were all his whenever he chose to covet them — put a shiver up a spine shaken by this campaign season.
You can say “I love the peasant girls — I’ll have another ten tonight” in this way or that. I kept coming back to
Just kiss. I don’t even wait. And when you’re a star, they let you do it. You can do anything. Grab ’em by the pussy. You can do anything.
There in the movie theater, centuries of I have the money and the land/property and the credibility and the woman over there has next to nothing and I can do what I want came crashing on my head and the music was suddenly terrible.
I played this over again when I got home.