Recitative should commence immediately after No. 5 without waiting for chord from the continuo. D.G’s. “guarda, guarda” should happen quickly, with excitement, but the following should be articulated more slowly with more wonderment and obvious enjoyment. Leporello’s line “Fra tante… however, should be spoken quickly with obvious anticipation.
D.G.’s “Cari amici”, must be presented in a dynamic level significantly higher than the exchange between himself and Leporello which preceded.
In m. 13, Giovanni should take due time with the words “per servirmi”, to then complete the thought in a less threatening manner. Masetto should pick up on D.G.’s ill-intentions at this point in order to motivate a slightly stronger reaction in m. 20 when, after addressing Zerlina in formal form (vostro), he addresses Masetto as “tuo”. Masetto’s response should be paced and delivered to reflect his notice of this slight.
M. 40 requires Leporello to give proper weight to the final syllable of “saprà” despite the notation on a weak beat. This is a necessary ‘awkwardness’ as Mozart is confined to notating the recitative in 4/4. Speaking this text with accurate inflection will easily remedy this ‘musical’ problem. In measure 42, time needs to be taken to make the line "e in man d'un Cavalier" properly suggestive. Likewise, Zerlina's line following requires proper indulgence in "nelle mani son io d'un Cavaliere."
In m. 48, Giovanni’s “Olà,…” must cut short Masetto’s objection as D.G. is clearly growing impatient with Masetto’s reluctance to leave.
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