The strength of these opening chords suggests Masetto’s posturing – a false obedience to someone of a higher social status. The arresting character of the first two bars implies a body language similar to standing at attention, which is then followed by a long, slow, deliberate bow during the descending line with the text “chino il capo e me ne vo”. The cadential figures in flutes and bassoons in the opening phrase further suggest the acquiescence with music that sounds like a ‘bowing’ figure. This is countered by a violin figuration beginning at m. 13 that is playful and suggestive of the text “giacchè piace a voi così.” The orchestra here should take care of the articulation and the oice remain legato, filling out the vowels.
The tone throughout this aria is of a very sarcastic reverence. To that end, color choices should be made when possible to strike the listener as affected. M. 20, violins in octave unison: non-vibrato and clear direction from G-F#, then warm the sound and move phrase with vibrato on downbeat of m. 21. The repetitions of the words “aver per me”, and the quick crescendo from ‘p’ to ‘f’ that occurs in mm. 31 and 32 most likely implies a bit of rage escaping from him…suddenly turned to Zerlina and uttered under the breath back in ‘p’. Here the orchestra should accent on beat two and play beat three softer in mm. 33-35.
Measure 47 is music of a taunting nature, and the subito ‘f’ at m. 53 should not be underplayed. There is nothing subtle about the attack on Zerlina and the sound should not be the least bit refined.
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