Theatre Review: ‘Don Giovanni’ (2012)

Theatre Review from the July 2012 issue of the Socialist Standard

‘Don Giovanni’ by Mozart at Heaven, London, Sunday 29th April 2012

Mozart’s opera, Don Giovanni, is set in London in 1987 with a modern libretto by Ranjit Bolt.  It was recently produced at the gay nightclub, Heaven in London. Bolt’s libretto has gay philanderer, Don, sung by baritone Duncan Rock but the rest of the cast has been reversed: basses and tenors become sopranos and vice versa.

Mozart represents the rationalist enlightenment when the bourgeois classes were wrestling power from the feudal masters of the ancien regime in 1789.  His opera, Marriage of Figaro, portrays the servile classes as good as their masters. Mozart himself was a servant to an Archbishop and the Hapsburg Emperor.

Bolt’s Don is both a feudal master with droit de seigneur and a greedy Thatcherite capitalist.  The supernatural apparition of Il Commandatore at the denouement does not have its horror-effect because the character appears like Miss Havisham from Dickens and elicits laughter from the audience.  AIDS as a Faustian metaphor is not pursued in the libretto. This is a pity because Forman and Schafer in the 1984 film, Amadeus, successfully incorporated the dark elements of Don Giovanni into the tale of the Mozart and Salieri intrigue. The aria, Il catalogo e questo, is very funny and appreciated by the audience.

In 1987 there was a palpable sense of the smell of Weimar in Britain when Thatcher won a third election victory: capitalism had been unfettered, the nationalised industries sold-off and the working class beaten down with the end of the miners’ strike.  Increased powers had been given to the police, and a Tory MP had declared on the Channel 4 programme, After Dark: Tomorrow Belongs to Us, evoking the brown shirts of Cabaret-era Berlin. Capitalism had one of its periodic crises when the stock market crashed on Black Monday. There was AIDS, and the frenzied voices of the petite bourgeois were heard in the newspapers, the Tory Party, the House of Lords, and the Police. There was talk of re-criminalising homosexuality. The Government introduced Clause 28, prohibiting the promotion of homosexuality; 30,000 marched against it and “Lesbians invade the Lords and the BBC” screamed the tabloids.

Gay rights are subject to the whim of reformist politics and moral re-armament revivals in capitalist society, as can be seen from events in 1987.  And even as recently as May 2012, in North Carolina, gay marriage has been prohibited.  This is a contradiction of capitalism: it allows gay identity to develop but still needs the working class to reproduce.  The family therefore has to be prioritised and homophobia is an inevitable by-product.  Engels identified that oppression begins with the family and the rise of class society, and thus the oppression of women and gays has its origin in class society. With the end of capitalism, the bourgeois family will vanish and, as Engels wrote: “the traditional bonds of sexual relations, like all fetters, are shaken off”. With the transformation to a socialist society all humanity will be emancipated and there will be an end to exploitation and oppression.

Steve Clayton

Mixed Media: 'The Marriage of Figaro' & 'Paul Klee' (2014)

The Mixed Media Column from the April 2014 issue of the Socialist Standard

The Marriage of Figaro

Mozart's Le Nozze di Figaro with a libretto by Lorenzo Da Ponte was performed last year at the Royal Opera House, Drury Lane, London in Italian with English subtitles. The opera is based on the banned play Le Mariage de Figaro by Beaumarchais, and was originally staged just before the French Revolution. Later Napoleon called it 'the Revolution already put into Action.' The major themes of the opera are sex and class conflict.

Christopher Maltman as Count Almaviva is predatory, displays contemptuous hauteur, and wants to revive the 'droit du seigneur', a nobleman's prerogative feudal right allowing him to have sexual relations with a subordinate woman which was also known as 'jus primae noctis' ('first night'). Luca Pisaroni as Figaro, the barber turned valet and major-domo to the Count denounces this 'offending right' when he discovers the Count intends to sleep with his fiancée Susanna. He sings 'Se vuol ballare' ('If you would dance'): 'Signor Contino, Il Chitarrino, Le Susnero' ('Count, if you come to my dancing school, you'll jump to my tune') and vows 'tutte le macchine rovescierò' ('all of your schemes I'll turn inside out').

Marriage for 'love' was a product of the rise of the bourgeoisie, freeing itself from the feudal norm of arranged marriage, and the notion of 'individual sex-love' was a source of inspiration for Mozart. Da Ponte removed political references such as replacing Figaro's speech in Beaumarchais against inherited privilege: 'Here a Master, there a Servant, according to the whim of fortune, being an aristocrat, having money, a position in society, holding public office. What have you ever done for all this wealth?'

Mozart was a Freemason, then a radical bourgeois reform movement extolling rationalist Enlightenment philosophy mixed with mystic humanism, promoting republicanism and brotherly love, and questioning the accepted idea that nobility makes someone worthy of respect. Mozart was a friend of Adam Weishaupt, founder of the Illuminati which espoused the humanist views of Rousseau and Diderot, and opposed the superstition and prejudice of the Roman Catholic Church. The Illuminati contended that social rank was not coincident with nobility of the spirit, but that people of lower class could be noble in spirit.

Mozart 'knew' his place in the feudal hierarchy as a servant to the Archbishop of Salzburg. Mozart described a typical dinner time: 'Our party consists of the two valets, the two cooks, and my insignificant self. Note that the two valets sit at the top of the table but at least I have the honour of being placed above the cooks.'

Mozart was the first composer to take the step into capitalism becoming a freelance composer in Vienna, selling his music on the market through subscription concerts and commissions. Mozart had moved into the world of petty commodity production.

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Paul Klee

Tate Modern in London recently held an exhibition of works by the early twentieth century modernist painter Paul Klee.

Klee contributed to the art and literature magazine Der Weg in Munich which in January 1919 proclaimed 'It is time for the revolution to create a revolution, under the stormy pressure of necessity one will not escape socialism.' With the establishment in Munich of the Bavarian Council Republic (Bayerische Räterepublik) on 6 April 1919 Klee wrote 'the Aktionsausschuss Revolutionäre Künstler (Action Committee of Revolutionary Artists) may dispose completely of my artistic capabilities.' Ernst Toller, Expressionist playwright briefly president described the Bavarian Council Republic as the 'Bavarian Revolution of Love.' This revolution was crushed by the Freikorps ('White Guards of Capitalism') on 3 May 1919 with 1,000 workers killed in street fighting, and 700 workers summarily executed in the following 'White Terror.'

Klee fled to Switzerland where he wrote to Alfred Kubin on 12 May 1919: 'this communist republic did give us the opportunity of checking our subjective in such a community. It was not without a positive result. Of course, exaggerated, individualistic art is not suitable for the general public, it is a capitalist luxury. That part of us which somehow aims for eternal values would be better able to receive support in a Communist Community.'

Klee's paintings of 1920 such as Aerial Combat, Memorial to the Kaiser and Christian Sectarian reflect the revolutionary times in Munich but most memorable is his Angelus Novus, the angel of history, part bird, part man, part angel. Walter Benjamin wrote of the painting in his 1940 Theses on the Philosophy of History: 'His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.'

The Nazis described Klee as a 'cultural Bolshevist' and in 1937 included his paintings in the 'Degenerate Art' exhibition.

Steve Clayton