“Batti, batti” is a work that is as sophisticated in its characterization as it is overtly sexual in its meaning. We have seen from “La, ci darem” that Zerlina has aspirations, or at least attitudes that transcend her station in life, and her manipulations in the duet reveal that she, herself, enjoys the art of seduction as much as Don Giovanni does. What seems clear from her time with Giovanni is that she has adopted some sense of herself as being elevated beyond her peasant status and the music of her aria suggests this. Ratner points out that this aria is written in a “middle style”, which is unusual for a peasant girl, implying that Zerlina is adapting an elevated, more courtly air for her self. This must surely be intentional on her part since, as Allenbrook points out, the gesture and structure of this aria is identical to the duet with Giovanni (ie. The first section being a courtly gavotte [2/4] followed by a pastorale [6/8]).
The bowing of the violins must be adhered to strictly for the sake of the implied stress and its relation to the characteristic gavotte rhythm. This can be subtley supported by use of an open ‘A’ in the 1st violins on the downbeat – the first figure being taken with a downbow. In addition, this legato in the strings is crucial to counter the necessary separation in the vocal line necessitated by the double consonants of “Batti, batti.” I would also suggest that a non-texbook, slight plosive be permitted on these initial “b’s” for the sake of cutting through the string texture while also appropriately coloring these words. This must be done tastefully however (and do NOT allow it on the word “bel”).
The cello obligato must sound effortless and relaxed throughout. It only seems to elevate the affect of the piece and is, perhaps, suggestive of elevated baroque works. This may exist to suggest that, unlike Giovanni, Zerlina does manage to possess a sense of loyalty and the ability to discern between the indulgence of fantasy and the complete abandonment of human connection. It is perhaps a necessary element (as I think Allenbrook too may have asserted without the book in front of me) that provides this fundamental insight into her character, even as her words are clearly falsely apologetic (she believes herself guiltless) and indulgently placating what she asserts to be Masetto’s false perceptions, and inability to comprehend on “her” (self-deluded) level. She is condescending, yet the cello obligato seems to suggest her sincerity in determining her position to be lofty. In mocking Masetto’s ego, it is her own that reveals the extent to which she is damaged goods.
This playfulness, but also sad frailty of fundamental character, is portrayed in the playful and flirtations figure in mm. 16-18. This, of course, is followed by her masochistic invitations. Indulgence of the initial consonant cluster on “straziarmi” is necessary to color the meaing of the word as is the initial attack of the work “cavarmi”.
Mm. 25-27: Violins I & II – up bows on all eighths -- color word being “lieta”
The “sfp” that accompanies the word “baciar” needs to be considered in the context of Zerlina’s character as a whole. Is this simply teasing and suggestive, and therefore played with a certain warmth in its emphasis (teasing and indulgent) OR…is it perhaps more suggestive of Zerlina’s darker core in which Mozart may be exposing her genuinely sadistic side (in which case the initial attacks of each of these accents needs to be faster, more direct, and preferably without vibrato to soften them. Zerlina, regardless, should sing this line in a sweet, playful, seemingly tender way)? Here, as often, it is the orchestra that is informing us more than the surface character.
Mm. 52/53: The violin figure must be treated gesturally rather than rhythmically (as always!). It is voicing Zerlina’s sadistic mockery of Masetto and should sound like playful laughter (which can be audibly accompanied by Zerlina on stage) prompting her text “Ah! lo vedo, non hai core.”
The 6/8 section is marked Allegretto by Bärenreiter; an indication lacking in other editions. Although it is a pastorale, it is more in similar in quality to the wedding scene chorus than that of “La ci darem”. The fact that Zerlina sings about having “peace” with music that is, in fact, so rhythmically and melodically active further suggests that her glee comes from the thrill of manipulation and taunting that she brings to the very person she loves. (Zerlina is a sick girl!). The eighths in the strings need sufficient rhythmic energy and separation (although the celli/bassi notes should be resonant and not played too short). Considering Zerlina’s character, it is not the least bit too imaginative to view her melismas (on a convenient [a] vowel) in mm. 68/69, 72 and 75 to be infused with a descriptive sexual overtone.
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