The necessary challenge to be met by Donna Elvira is to maintain legato and keep her sound spinning over a very articulate orchestral accompaniment. The orchestra should not play the quarter-notes on beats one and three too short, but the sixteenth note pick-ups should always be highly energized. The singer should then allow the orchestra to express her agitation through the articulation by spinner her line smoothly overtop. Instead, expressive diction on such words as “barbaro” and “scorno” will sufficiently illustrate her outrage. Mozart sets these words perfectly to allow maximum effect on the initial consonants of these words.
The ‘fp’ articulations in the orchestra at m. 40 should have a brutal edge in keeping with the sentiments being expressed. In order not to interfere with the tessitura of the voice, these accents should be led by the celli and bassi.
At m. 53, the repeated notes of Giovanni’s line require ultra-clear phrase direction on the part of the singer. The orchestral part is also static which implies the routine nature of what Giovanni is proposing (this supported by Leporello’s response that Giovanni has done this 1800 times!). Giovanni’s one-note, matter of fact, proposal to console this “poor woman” is offset by the slight romanticization of the same pitch (F) in the swooning 1st violin part.
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