167 ([return])
[ In the Fliegenden Blättern fur Musik (III., p. n.) it is pointed out that the beginning of this melody is identical with the serenade, and this is adduced as an instance of refined characterisation, meant to indicate Don Giovanni's treachery to Elvira, whom he is addressing, while he is thinking of the waiting-maid; there is no foundation for the idea, however.]
168 ([return])
[ Gumprecht's remarks on this are instructive (Klass. Sopran-album, p. 8).]
169 ([return])
[ Gazzaniga places it in recitative before the finale.]
170 ([return])
[ It is an oft-repeated mistake that this part was written by Mozart for Campi, who was born in Lublin, 1773, and had been a main support to Guardasoni's company since 1791 (A. M. Z., II., p. 537).]
171 ([return])
[ Marx, Berl. Mus. Ztg., I., p. 319. Rellstab, Ges. Schr., VI., p. 251. Genast says (Aus d. Tageb. e. alten Schausp., III., p. 171) that Bethmann rendered Donna Anna in this sense, and that upon his representation Schröder-Devrient copied it. Cf. A. von Wolzogen, Wilh. Schroder-Devrient, p. 163.]