The “f” accents are in obvious irritation, like snorts of contempt, at the fact that Leporello is standing guard while Don Giovanni has his usual fun. It is not contempt with D.G. but at his own status in not being able to engage in the same kind of exploits as D.G. The music is militaristic…a march, but as Wye Allenbrook wisely notes, the rhythms of the opening and subsequent sections are sophisticated choices on Mozart’s behalf – using ‘upper class’ dance signatures such as gavotte and cavalier march. These support this notion that Leporello is envious of D.G.’s status in life, not simply at his choices or abilities to seduce women. By selecting the rhythm of the gavotte from the very beginning, the orchestra’s music telegraphs to us Leporello’s aspiration to be a gentleman before we actually hear him utter those words.
Leporello's first phrase obviously should be delivered in the same, rough-edged and irritated manner prescribed by the ‘snorts’ of the orchestra. The transition to the ‘aspired gentleman’ occurs only in the fermata before “voglio far il gentiluomo”. It is in this pause that the image of himself as a Cavalier entertains his thoughts and motivates him to speak these words. The pause should be no longer than musically necessary, but the singer must illustrate the thought-progression through both body language and facial expression in that brief pause. This is what will motivate the f-p articulation in the orchestra (ie. The SUDDEN joy of this particular fantasy of being the Master and seducer). The articulation in the orchestra should be achieved by a decisive articulation, especially in the woodwinds, but not a brutal attack. It is not an ‘angry’ attack, but rather one of release and exuberance at this thought. Length from the celli/bassi on the quarter-note will soften any unwanted ‘edge’ that the ‘f’ may have. Leporello should be ‘f’ BUT must sing his best legato and move/crescendo through the long notes. In other words, the voice does NOT imitate the dynamics of the orchestra here.
Leporello continues with further indulgence of his gallant fantasy. The sfp in the orchestra (again in gavotte rhythm) should be achieved through precision in the attacks, but not harsh in their articulation. This should sound effusively elegant (overly so since it is, in fact, an ‘act’/’fantasy’/’role play’ on the part of someone who is, indeed, not gallant or elegant). These orchestral gestures can indicate ‘bowing’ in a gallant fashion. This is an idea for stage-director: Leporello ‘practicing’ his bowing. The phrase “Oh che caro galantuomo!” could then be delivered as either his articulation of the admiration of people for him (in which case it should be delivered in most elegant and precious manner) OR it can be an aside, referring to D.G. with a big of sarcasm, in which case the initial “c” of “caro” could be overemphasized to draw excessive attention to the color word of this phrase. My preference is for the latter as is makes slightly more sense for the next phrase.
“Voi star dentro …” illustrates a return to the obvious irritation at his status and servant and lookout, with line that is descending (returning to lowly social status) and repetitive. In m. 43, the articulation in first and second violins changes from longer (brushed) quarter notes to staccato on beats 2 and 3. This must be clearly projected as this articulation reflects Leporello’s reaction to his inner monologue, taking a sentinel posture again in terms of attitude and, likely, physical as well. The fermata at the end of this phrase is not accompanied by the orchestra and must be treated dramatically. A turn should be incorporated and final note of orchestra after fermata must be short to reflect Leporello’s exasperation. The following fermata should be longer than the first because here, again, Leporello must transition from his ‘look out’ posture back to his fantasy indulgence. This should require only slightly longer than the first fermata, but some sort of visual read from the stage must dictate when this music must continue (without breaking an obviously musical connection, of course).
M. 77 is an interruption to Leporello’s monologue as he thinks he hears people approaching. The music is repetitious and should incite a feeling of slight panic. This is achieved by the orchestra clearly articulating accents on quarter notes (which would be played short for effect) on both strong beats per measure. This is a shift AWAY from the slower moving accents of the more noble music that came sooner. In this manner, a greater restlessness is achieved and the help of the crescendo in both orchestra and voice supports Leporello’s frantic movement on stage. A clear shift in dynamics must be done by both voice and orchestra between forte and piano as Leporello says he wishes to avoid detection.
The transition to Donna Anna’s entrance must be a wild crescendo. She enters in a state of extreme agitation and this is not elegant music. Although, as Allenbrook points out, the rhythm at m. 72 is that of an exalted march, it is dramatically defined by its emotion. A very slight accelerando in mm. 70-72, arriving at a subsequently SLIGHTLY quicker tempo in m. 73 is very appropriate as dictated by the dramatic context as well as the rhythmic momentum Mozart establishes.
Donna Anna’s social status is signified by the rhythmic gesture: the orchestra must not accent the third quarter note in measures 73 and 74, but rather round-off the gesture. However, the betrayal (ie. Outburst) of her emotions is not consistent with a woman of her status, and is therefore accompanied in mm. 75 and 76 by ‘less sophisticated’ music. These ‘fp’ in the strings should be aggressive and crunched articulations, with very short staccati.
Don Giovanni rebukes Donna Anna’s protestations that he will not escape by telling her her screams are futile. D.A.’s screams are pronounced by the winds mm. 83 onward, but the measure to measure “f” to “p” dynamics must be tempered in order not to interfere with the balance of voices and strings. Winds should treat their dynamics on these whole notes as “dim.” And “ cresc.” While the strings maintain their tiered dynamics. Only at mm. 87 should the ‘f’ be treated by all orchestral forces as a crescendo in order to illustrate the agitation of the three characters while maintaining the musical drive to the cadence in m. 90. This too will prove the crucial ‘fp’ crunch on the downbeat of that measure. The ‘p dynamic in the orchestra following must be highly observed, best to start ‘pp’ to achieve optimal effect. D. Anna’s line and D. Giovanni’s answer should remain ‘f’ allowing the orchestra to drive the underlying fury. Don Giovanni’s vowels should be as dark as possible (without being inappropriate) in “taci, e trema al mio furore!” in respect to his threatening stance. Therefore, the woodwinds should provide a foreshadowing of this ‘bloody terror’ by brightening the sound (flutes in particular) and leaning to the upper side of the pitch for a slightly strident color.
At the entrance of the Commendatore, the orchestral rhythm must be highly gestural, the triplets perhaps being played slightly later and faster, weighing only on the strong beats. Down to a pure ‘p’ dynamic. M. 143, the orchestra must fill out the half-note downbeat of each bar. The rhythm is noble and the dotted rhythm significant throughout this opera. At “potessi almeno”, the legate of the strings must be impeccable, as well as with the voices. There is complete unity in this passage demonstrating that it truly will be impossible for D. Giovanni to escape the Commendatore, and the unison a significant ombra characteristic that is foreshadowing the supernatural elements that will prove this truth. D. Giovanni’s final ‘misero’ should be bellowed somewhat, while the strings should play non-vibrato for spine-chilling effect. The tempo following should be slower, especially with time taken for dramatic effect at “se vuoi morir”. Atempo immediately at m. 166’s battle music.
The fermata cut-off after the fight must be as big as the gesture going into that final chord. The pacing to begin the Andante will be musically inevitable and any stage movement must be coordinated to that musical pacing. The quarter-note of the Andante should roughly equal the half-note of the previous music. Conduct only in four, but the voices must feel these lines in two. Leporello’s dotted rhythms signify terror. They should be sharp and accented, rhythmically fitting into the triplets of the first violins. The slower, dotted rhythms of both the Commendatore and D. Giovanni signify the pulsating heart draining of blood and should be more legato and squared rhythmically. The orchestral legato should be somewhat ‘warm’ in all voices EXCEPT those playing chromatic lines (ie. Bassoons, oboes and flute) which should alter the color by playing non-vibrato on these lines.
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