"Madamina"
The Catalogue Aria
Look at this not inconsiderable list;
it's filled with his sweethearts’ names.
Every town and district, every country,
has seen his exploits with women.
In Italy, six hundred and forty;
in Germany, two hundred and thirty-one;
a hundred in France; in Turkey ninety-one.
But in Spain it's reached a thousand and three.
Including country girls, waitresses and girls from the city,
countesses, baronesses, marchionesses, princesses.
Women from every walk of life, of every shape and age.
With blondes, he tends to praise their kindness;
with brunettes, their devotion;
with ash blondes, their sweetness.
In winter he wants fat ones,
in summer he wants thin ones.
The large ones are majestic.
The little ones are always charming.
He seduces the old ones to add them to the list.
His greatest passion is the young beginner.
It doesn't matter if she's rich, if she's ugly, if she's beautiful;
as long as she wears a skirt, you know what he’ll do.
Mozart's opera Don Giovanni showcases the Alpha Male at the top of his form – until he meets his downfall! An unapologetic hedonist, Don Giovanni inspires both fascination and revulsion in those around him with his charming but totally unprincipled behaviour.
The opera begins with Leporello, Don Giovanni’s servant, standing guard while his master pursues yet another seduction and lamenting all he must endure in his service. Donna Anna appears, struggling with Don Giovanni. Her father, the Commendatore, comes to her rescue but is killed in a sword fight with Don Giovanni, who escapes with Leporello. Donna Anna, who has left to get help, returns with her fiancé, Ottavio, to find her father murdered.
Later, Donna Elvira arrives, searching for Don Giovanni, who has abandoned her. Leporello recounts his master's numerous conquests in an attempt to discourage her. Masetto and Zerlina then appear, happily anticipating their approaching wedding. Don Giovanni is entranced by Zerlina and orders Leporello to distract Masetto so that he can have his way with Zerlina. Donna Elvira thwarts the seduction and takes Zerlina away. Meanwhile, Donna Anna recognizes Don Giovanni as her attacker and orders Ottavio to avenge her father’s murder. Elvira, Anna, and Ottavio plan to trap Don Giovanni at a ball that evening. During the ball, he lures Zerlina away. Her screams alert the three plotters who confront Don Giovanni, but he escapes once again.
Intent on the conquest of Donna Elvira’s maid, Don Giovanni trades clothes with Leporello, who lures Donna Elvira from her house with promises of reconciliation. The disguised Don Giovanni encounters and outwits Masetto and his friends who are seeking Zerlina’s seducer, wounding Masetto in the process. Donna Anna, Don Ottavio, Zerlina and Masetto come upon Elvira and Leporello, who reveals his true identity and flees.
Don Ottavio realises that Don Giovanni is indeed the Commendatore’s killer. Donna Anna affirms her love for her fiancé, but she cannot commit to a life with him until her father's murder is avenged. Donna Elvira admits she still loves Don Giovanni despite all he has done.
Leporello and Don Giovanni are hiding in the cemetery where they see the Commendatore’s tomb and jokingly ask his statue to dinner. To their amazement, the statue accepts. Later that evening, the statue knocks on Don Giovanni’s door and summons him to hell. The Don is defiant to the last, but the opera ends with the others reflecting on the dire consequences of his immoral life.