Donna Elvira’s recognition of Don Giovanni should be articulated quickly and with surprise, answered in similar fashion from the continuo. However, time should be taken after the words “sei qui”, firmly establishing his presence before she begins the assaults. Elvira’s lines should be articulated with agitation, Don Giovanni’s, on the other hand, should remain smooth and emotionally centered in keeping with his manipulative nature. His “lasciatemi parlar” should quickly be cut off by her “Cosa puoi dire..”. Elvira’s delivery of “m’innamori” should likely be slower and slighty enraptured in D.G.’s presence, but followed by a faster “o crudele”. The continuo should sound a quick, punctuating chord after these words, then Elvira should take her time following with “mi dichiari tua sposa…”. The singer should then think of an overall accelerando through the next phrase leading to “T’allontani, M’abbandoni, mi fuggi!” This is countered in the next phrase “e lasci in preda al rimoros…” with much time taken over the words (and slowly rolled commentary from the continuo) on “ed al pianto” [continuo arpeggiate from the top down illustrating the falling of tears then slow upward arpeggiation on “contanto”].
Leporello’s response to Elvira’s words should be delivered as a quick aside; Giovanni resumes his confident and controlled manner of speech to Elvira, but his “e vero?” to Leporello should be quick and excited.
A passing tone (B) on Elvira’s word “vendette” (m. 33) should be avoided as it softens the hard meaning of the word and undermines its delivery.
As usual, D.Giovanni’s words to Donna Elvira must be delivered in a controlled and somewhat suave manner, but all asides to Leporello must be quicker, including “Mi pone a cimento costei.”
Donna Elvira’s “Sciagurato!...” needs to interrupt Leporello. The continuo should sound some sort of tremelo, or other racket, throughout the line “Sciaguarto! Cosi del mio dolor giuoco ti prendi?”
In m. 55, after “guardate”, the three eighth-notes in the continuo should be played slowly and deliberately as Leporello produces his book. Leporello should not continue until after the continuo sounds and arpeggiation on the downbeat. The voice should be sure to emphasize “NON picciol libro”.
The final chord of the recitative is a dominant pickup to the catalogue aria. It should be cued by the conductor in tempo.
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