The commencement of the opera[ 134 ] sets us at once in the midst of the action: the passionate intensity of the first DON GIOVANNI. scene, the villainy which is practised before our eyes, prepare us for the deep shadow which is to fall on the picture of reckless pleasure-seeking, and for its horrifying conclusion; nor is the humorous element altogether absent:—
Leporello is discovered keeping impatient watch for his master, who soon appears, pursued by Donna Anna, and vainly striving to break loose from her. Her cries for help bring the Commendatore, her father, who challenges the insolent intruder to fight, and falls by Don Giovanni's sword, to the consternation of the latter and of Leporello. Neither scorn nor mockery are expressed in the words, "Ah! gia cade il sciagurato," and the music is as far from such sentiments as the words. Da Ponte has sagaciously shown traits of natural human sentiment in Don Giovanni, and Mozart has not let these escape him. But he has no time to waste in regrets; he takes to flight, and immediately after Donna Anna returns with her affianced lover, Don Ottavio; she swoons at sight of the corpse, and as soon as she returns to herself makes Don Ottavio swear vengeance on the murderer.
Don Giovanni, deaf to Leporello's reproaches, is confiding to him that he is in pursuit of a new adventure,[ 135 ] when a lady enters. This is Donna Elvira, whom he has deceived and deserted in Burgos, and who has followed him to claim his promise of marriage; he approaches her, and is consternated on seeing who she is. She overwhelms him with reproaches, and he refers her to Leporello for explanations and excuses, taking the opportunity of slipping away himself; Leporello, for her consolation, displays a list of his master's love intrigues, which he carries about with him. Enraged at this fresh insult, she resolves to sacrifice her love for her unfaithful lover to her thirst for vengeance.
Masetto and Zerlina, with their village friends, are celebrating their wedding in the neighbourhood of Don Giovanni's casino, whither he has repaired by preconcerted arrangement. Zerlina's fresh loveliness attracts him; and, making acquaintance with the bridal party, he invites them all into his casino, but soon drives out Masetto, whose jealousy he has excited; and is on the point of winning Zerlina by his flattery and declarations of love when Elvira steps between them, warns Zerlina, and (spite of Don Giovanni's whispered protestation that she is a poor maniac in love with him and mad with jealousy) carries off the peasant maiden.[ 136 ] To Don Giovanni, thus left alone, enter Donna Anna and Ottavio, who greet him as a friend of the family, and claim his DA PONTE'S LIBRETTO. assistance in discovering the murderer and bringing him to justice; while he is conversing with Donna Anna, Elvira again interposes and warns her that he is a hypocrite. He again secretly represents her as a maniac who must be humoured,[ 137 ] and goes out with her. Donna Anna's suspicions are aroused, and observing Don Giovanni closely, she recognises her father's murderer in him, acquaints Don Ottavio with the circumstances, and urges him to avenge her father's death. Unwilling to give easy credence to such a grave accusation, he decides to examine thoroughly into the affair, and to clear up the doubts as to Don Giovanni. The latter, disembarrassed of Donna Elvira, commands a banquet to be prepared in honour of the bridal party. Masetto, whom Zerlina has with difficulty appeased by her coaxing endearments, conceals himself when he sees Don Giovanni approaching; after some demure behaviour on Zerlina's part, Masetto comes forward, and Don Giovanni, with quick presence of mind, persuades them both to accompany him into the house for the banquet. Donna Anna and Don Ottavio enter with Elvira, who has explained everything to them, and at her instigation they all put on masks, in order to observe Don Giovanni without being recognised; Leporello, perceiving them, conveys the expected invitation to enter, which they accept. It was at that time customary in Venice to go about masked, and strangers thus disguised were invited to enter where any festivities were going on, thus heightening the frolic of the masquerade. As they enter the hall, there is a pause in the dance; the guests take refreshment, Don Giovanni devotes himself to Zerlina, and Masetto, his jealousy again aroused, seeks to warn her; then the masked strangers become the centre of observation, are politely greeted, and the dance begins again. Donna Anna and Don Ottavio tread a minuet, the dance of the aristocracy;[ 138 ] Donna Anna with difficulty restrains her conflicting emotions, which vent themselves in occasional interjections, while Don Ottavio exhorts her to remain calm. Elvira follows every movement of Don Giovanni; the latter invites Zerlina to dance, and Leporello forces Masetto to dance with him in order to distract his attention from Zerlina. At the right moment Don Giovanni carries off Zerlina. Leporello hurries after to warn him; her cries for help are heard, and all rush to her rescue. Don Giovanni meets them, dragging in Leporello, whom he gives out to be the culprit, and threatens with death; but he is surrounded on all sides, the masks are thrown off, and he finds himself in the midst of his victims, DON GIOVANNI. intent on revenge. For one moment his presence of mind forsakes him and he is at a loss how to extricate himself, but his courage speedily returns, and he boldly and irresistibly makes his way through his enemies.
This momentary dismay and confusion is psychologically correct, and brings an important feature into the situation, which Mozart has effectively seized in his musical characterisation of it. Don Giovanni and Leporello, with the storm of voices surging round them, sing sotto voce; and highly characteristic is the submission to Leporello's opinion to which Don Giovanni here condescends. Only with the words "Ma non manca in me corraggio" does he gather his senses together, and strike at once a different key, in which Leporello cannot follow him.[ 139 ]
The first act must be allowed to have a well-constructed and interesting plot, but the second consists of situations without cohesion or connection, although capable of being made musically very effective. It wants a leading motive to hold the parts together, the incessant pursuit of Don Giovanni not by any means answering the purpose; the comic tone also degenerates into coarseness:—
Don Giovanni, having appeased the incensed Leporello with money and fair words, confides to him that he is courting Elvira's pretty wait-ing-maid, and changes clothes with him in order to gain easier access to her. This is scarcely accomplished when Elvira appears at the window. In order to get out of the affair with a good grace, Don Giovanni renews his addresses to her with pretended passion, and she is weak enough to give ear to him. Leporello, in his disguise, accepts and answers her protestations of love, until Don Giovanni, making a noisy entrance, drives them both away; then with a tender song he strives to entice the waiting-maid to appear. Masetto then enters armed, with several friends, to call Don Giovanni to account; the supposed Leporello undertakes to put them on the right track, but cleverly contrives to disperse and dismiss them, wheedles Masetto out of his weapons, beats him soundly, and escapes. Masetto's cries bring Zerlina to the spot, and she seeks to console him with loving caresses.
In the meantime Leporello and Elvira have taken refuge in an antechamber; Leporello tries to slip away, while Elvira beseeches him not to leave her alone in the dark. He is on the point of escaping when DA PONTE'S LIBRETTO. Don Ottavio enters with Donna Anna, endeavouring to calm her sorrow; Elvira and Leporello each try to escape unobserved, but Zerlina and Masetto intercept them. The supposed Don Giovanni is taken to account on the spot; in vain does Elvira petition for him, to the general astonishment; at last Leporello discovers himself, and after many excuses and explanations makes good his escape. Don Ottavio, now no longer doubting that Don Giovanni is the murderer of the Com-mendatore, announces his intention of proceeding against him in a court of justice, and begs his friends to console his betrothed until he shall have accomplished his design.
Don Giovanni awaits Leporello's arrival at the foot of the monument erected to the Commendatore, and laughingly relates his latest adventure; an invisible voice twice utters words of warning. He becomes aware of the presence of the statue, and makes Leporello read the inscription on it: "I here await the chastisement of my ruthless murderer." In arrogant contempt of Leporello's horror he forces the latter to invite the statue to supper; the statue nodding its head. Don Giovanni calls upon it to answer, and on its distinctly uttering the word "Yes" he hastens away in consternation.
Don Ottavio strives anew to console Donna Anna, and at last begs for her hand in marriage: she explains that, though her heart consents to his prayer, her mourning for her father compels her to postpone its fulfilment. This scene gives rise to a suspicion of having been inserted in Prague after the completion of the opera, in order to give the singer a final air. The situation is repeated at the close of the finale, and is not here in accordance with Don Ottavio's previous appearances. Don Giovanni, seated at his richly appointed table, eats and jokes with the greedy Leporello. This scene, which was always made the occasion for broad jesting between master and servant, has been turned by Mozart into musical fun and by-play. Don Giovanni's private musicians play favourite airs from the newest operas. At the first bar Leporello cries "Bravi! 'Cosa Rara!'" It is the last movement of the first finale from Martin's "Cosa Rara": "O quanto un si bel giubilo," which was then in every one's mouth; and the parody was a very happy one. Just as in Martin's opera the discontented lovers are contrasted with the more favoured ones, on whom their mistresses have been bestowed before their eyes, so here the hungry Leporello contrasts with the gormandising Don Giovanni, and the music might have been made for them. The second piece is greeted by Leporello with "Evvivano! 'I Litiganti!'" It is Mingone's favourite air from Sarti's opera, "Fra Due Litiganti il Terzo gode" (Act I., 8), the same on which Mozart had written variations (Vol. II., p. 345), the then familiar words of which—