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[ It is a great improvement on Gazzaniga's libretto that Donna Anna does not disappear after her first entrance, but takes the place in the plot of the meaningless Eximena; but to invent new motives for her was beyond Da Ponte's power.]
173 ([return])
[ Ulibicheff (III., p. 113), Lobe (Flieg. Blätt. f. Mus., I., p. 221), Vincent (Leipz. Theat. Ztg., 1858. Cf. Deutsche Mus. Ztg., 1860, pp. 222, 231), have taken a right view of Don Ottavio's character.]
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[ Marx considers the voice parts and the whole spirit of the aria powerful and grand, but the instrumentation trivial (Kompositionslehre, IV., p. 529); he conjectures that it may have been worked out by Sussmayer. This conjecture is contradicted by the autograph score; and we may rather believe that Mozart was actuated by consideration for Saporiti's voice, and refrained from overpowering it by the instrumentation.]
175 ([return])
[ Even at the beginning of the finale there is no chorus of villagers. Don Giovanni enters with several servants, who echo his greeting to the guests: "Su corraggio, o buona gente!">[
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[ Cf. Gugler, Morgenbl., 1865, No. 32, p. 749.]