With Don Giovanni you and Kusej are absolutely on the same page (an ice cold villain and rapist, a 'moral ruin'; not a trace of the 'metaphorical hero'), where you maybe diverge a bit is that for him Don Giovanni is not so much an isolated pathological case, but an extreme representative of the self-obsessed, egoistic, modern Spassgesellschaft. Kusej takes the end very literally, and very seriously.
('Brave? He is no more brave than Hitler was when, after covering all of Europe with his crimes and perverting every aspect of life, he killed himself rather than face the music.' I've almost used this comparison in my post, which I think emphasises the similarities between his and your interpretation.)
I can't quite remember, but I think with Leporello Kusej took a bit of a metaphorical approach, essentially seeing him as Don Giovanni's alter ego, maybe part of himself; I'd have to look it up. So, yes, unhealthy relationship, and yes, innocence destroyed, even if it was only his own innocence. Leporello could very well be seen as the tattered remains of the 'better man somewhere in him, [...] a long time before the curtain rose'; not really a conscience, not strong enough to change anything, but at least the residue awareness of wrongness.
Even with Don Ottavio there's not that much of a difference, because for Kusej he is a good guy, the man who unfailingly supports his fiancee and Donna Elvira throughout the first act, and he absolutely makes the audience believe that. 'in the mouth of the average Don Ottavio, this sounds ridiculous': not a mistake that Kusej made. His solution is to have him fall into the trap of a more violent, Don Giovanni-eque behaviour there for a moment, but he realises his mistake and does come out with integrity in the end, because he is willing to listen to Donna Anna and to respect her wishes. 'treats with great respect the mutual respect and affection, the freely undertaken vows, of Donna Anna and Don Ottavio.' -- that message is absolutely there, and all the stronger because for a moment he did almost succumb to the temptation to behave differently, and it profoundly shocked him. Their relationship is sincere and treated very seriously, and perhaps the most positive element in this rather depressing production.
The greatest difference is with Zerlina, but this is also the instance where at least from a modern point of view I disagree with your interpretation. That might have been okay or funny once, but when you give a little thought to what she's saying there, it's very uncomfortable to hear a woman inviting a man to beat her in order not to lose him. Even if she loves him; especially if she loves him. Whether or not he takes her up on her offer makes no difference IMO.
And Masetto? 'calling the woman he has just married a slut in front of the whole marriage party: something which demeans not only her, but himself as well.' Again, very much on the same page. Kusej's Zerlina is a victim both of Don Giovanni and her future husband, who only starts to rethink his behaviour when he himself becomes the victim of violence and abuse.
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Date: 2008-05-02 08:32 am (UTC)('Brave? He is no more brave than Hitler was when, after covering all of Europe with his crimes and perverting every aspect of life, he killed himself rather than face the music.' I've almost used this comparison in my post, which I think emphasises the similarities between his and your interpretation.)
I can't quite remember, but I think with Leporello Kusej took a bit of a metaphorical approach, essentially seeing him as Don Giovanni's alter ego, maybe part of himself; I'd have to look it up. So, yes, unhealthy relationship, and yes, innocence destroyed, even if it was only his own innocence. Leporello could very well be seen as the tattered remains of the 'better man somewhere in him, [...] a long time before the curtain rose'; not really a conscience, not strong enough to change anything, but at least the residue awareness of wrongness.
Even with Don Ottavio there's not that much of a difference, because for Kusej he is a good guy, the man who unfailingly supports his fiancee and Donna Elvira throughout the first act, and he absolutely makes the audience believe that. 'in the mouth of the average Don Ottavio, this sounds ridiculous': not a mistake that Kusej made. His solution is to have him fall into the trap of a more violent, Don Giovanni-eque behaviour there for a moment, but he realises his mistake and does come out with integrity in the end, because he is willing to listen to Donna Anna and to respect her wishes. 'treats with great respect the mutual respect and affection, the freely undertaken vows, of Donna Anna and Don Ottavio.' -- that message is absolutely there, and all the stronger because for a moment he did almost succumb to the temptation to behave differently, and it profoundly shocked him. Their relationship is sincere and treated very seriously, and perhaps the most positive element in this rather depressing production.
The greatest difference is with Zerlina, but this is also the instance where at least from a modern point of view I disagree with your interpretation. That might have been okay or funny once, but when you give a little thought to what she's saying there, it's very uncomfortable to hear a woman inviting a man to beat her in order not to lose him. Even if she loves him; especially if she loves him. Whether or not he takes her up on her offer makes no difference IMO.
And Masetto? 'calling the woman he has just married a slut in front of the whole marriage party: something which demeans not only her, but himself as well.' Again, very much on the same page. Kusej's Zerlina is a victim both of Don Giovanni and her future husband, who only starts to rethink his behaviour when he himself becomes the victim of violence and abuse.