Writing in Musicology Now, the blog of the American Musicological Society, Kristi Brown-Montesano takes a look at Mozart's Don Giovanni, an opera about a sexual predator and rapist. She concludes:
H/t Tyler Cowen.Many of the acclaimed men who are now facing serious consequences for sexual harassment and assault have long operated in a culture that preferred to look the other way, not least because corporate employers and board members saw these men as too big to fail. Their brand was more important than the rights of alleged victims. The classical music world is no less implicated in this gentleman’s agreement. There have long been rumors and “open secrets” around conductors and applied teachers, who are often gatekeepers to major career opportunities. And few such secrets have been more open than those around James Levine, operating at the very heart of opera culture in this country. The self-interested and institutional protections around these men are finally--finally--toppling under the broad societal pressure for serious investigation.Don Giovanni falls into a parallel category: an art product whose aesthetic value and guaranteed box-office receipts have deflected critical charges against the main character. My program note for Bilbao drew a hard line: the only way to make Don Giovanni worthy of our time, if indeed that is possible at all, is to listen more closely to the women. And if we really care about opera’s continued relevance, then everyone who loves the art form—directors, conductors, singers, critics, educators, audiences—must acknowledge the connection between what we applaud on stage and what we permit in the workplace, school, home. Because Donna Elvira could tell you, the “Catalogue Aria” is not so funny when your name, or the name of someone you love, is on the list.