Score Study: Don Giovanni Act I: Aria, No. 4

Ratner suggests that in this aria, the duet between the treble voice and the bass could represent the relationship of a woman and a man.  This is an appropriate suggestion considering it is an aria cataloguing Don Giovanni’s romantic conquests around the world.  The fact that it is set off first by the ‘feminine’ voice of the 1^st violins is consistent with the “skirt chasing” implications of this text.  Leporello’s use of “Madamina” is, perhaps, slightly condescending in tone, perhaps suggesting this is also not the first time he, as Giovanni’s well-seasoned sentinel, has had to deliver this very same speech in an effort to aid his master’s escape.  Ratner points out that the orchestra carries the action of this aria, and the excited writing for the winds during the catologue portions explicitly portray both the frivolity of Giovanni’s conquests as well as the complete incomprehensibility these number must surely have for Donna Elvira.  T

The accented syncopations at “ma in Ispagna” should not be prepped by taking time before them, but rather it is the sudden pausing on Leporello’s part that demonstrates his particular enjoyment in manipulating a woman in this manner.  This catalogue aria is, in some ways, as close as he himself gets to playing that role of master he so wishes to play.  Leporello is, in these moments, enjoying having a woman on puppet strings for a change.  For this reason, he repeats “mille tre” three times and enjoys Donna Elvira’s reactions after each. 

To demonstrate the ultimate mastery of Don Giovanni (the skirt chaser) over the women he pursues, the return of the A Section music (at m. 37) switches roles letting the “male” voice (ie. The basses of the orchestra) begin, followed then by the 1^st violins.  This music ascends in keeping with the listing of the social statuses being listed of the women D. G. has seduced. 

Andante con moto: 

Mozart uses a Minuet (a stately dance form) for the second half of this aria.  This choice is used both in reference to Don Giovanni’s social status, but also to present a sarcastic reverence for the enchanting qualities and ‘uses’ each type of woman holds for him.  Again, Leporello is enjoying his role of puppeteer with Elvira’s emotions – not truly trying to dissuade her from Don Giovanni, but rather enjoying his own manipulation (and torture) of a woman in the only way he personally can. 

Care must be taken not too overpower the voice here since there is so much doubling occurring.  Keep the strings light and voice to the top and bottom and away from Leporello’s tessitura.  In m. 101, the predominant voice in the orchestra should be the flute, so that the overpowering string texture does not interfere with the voice.

Measure 115 should be taken in one breath by the singer if possible.  A slight ornament of D-C#-D on the downbeat, followed by a clean octave descent to beat two, then a SLIGHT portamento back up the octave for “la” is an effective option.  A breath may be taken between “la” and “piccina” if it is done in a playful manner.  The transition in M. 123 can also be decorated by taking a slight fermata in the orchestra and having the voice moved down G#-Gnatural at the end of that measure. 

At measuree 130, Mozart uses a deceptive cadence.  Allenbrook astutely observes that the text here is “ma passion predominante” [“his predominant passion”].  This predominant passion of Don Giovanni is obviously that of deception and Mozart does not miss the opportunity to send us adrift harmonically. 

From m. 136 to 140, there is a usually inaudible “mfp” on beat two in the violas.  Care should be taken to bring this feature out as it is clearly indicative of some pang of reaction from Elvira.  Each should be attacked from the string and using downbow on each.  Elvira’s palpitations are further illustrated in measure 147 in a musical double-entendre by Mozart.  The orchestra, in the leggiere winds (playing on beats 2 and 3 of each bar), displays the typical example of a ‘breathless’ figuration, but a figure that is also suggestive of pulsation and…!  The ‘p’ entrance of the horns in m. 152 is an illustration of the ‘hunting’ horns suggestive of D.G’s sporting nature.  The text through this passage simply telling Elvira “as long as she wears a skirt, you know what he does.”