Introduzione, No. 1
In very good shape through most of this. Pay careful attention to dynamics throughout, especially Leporello observing the "p" after "Sconsigliata!/Scellerato!"
Commendatore: Secure entrances, rhythms and pitches. The Andante was fairly secure but "Lasciala, indegno!" was problematic.
Andante: Leporello: keep sixteenth notes of dotted rhythms very short and energized.
Aria/Trio, No. 3
This number was in excellent shape. Donna Elvira's: keep your legato spinning in "che per mio scorno amai...". Keep connection during octave leaps, making sure to fill out the eighth notes at "vo' farne orrendo scempio...".
Aria, No. 8
"Ah, fuggi il traditor!"
This was very well prepared by all. Despite its vocal challenges and very angular rhythm, do not feel you need to push the volume beyond the point that allows you appropriate opportunity for color. The voice is accompanied only by strings, so the voice does not have to put out as much volume as in other parts of this score.
Keep direction on long notes so that the line never becomes stagnant, even for a couple beats. At m. 22 you can find an opportunity to bring back the volume a bit, lyricising the chromatic quarter-notes and giving you a slight respite from the driving energy of the piece.
Duetto, No. 2
Also well prepared. In second measure, take time to sing through the initial "L" of "Lascia", giving a bit of time for orchestra to enter "p" beneath. Don Ottavio: despite the rests and angular rhythms, think of the long phrase at "Senti, cor mio..."
Donna Anna: indulge the initial "b" of "bene" for the sake of both coloring the word, and allowing time for the "sfp" in the orchestra accompanying it.
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