Whenever the same subject is used in a great number of recitatives, there is an astonishing variety of instrumental expression. It is said that Mozart's contemporaries were particularly struck by his employment of wind instruments, as in the accompaniment to Cherubino's romanze and air. And yet how simple the means; how meager the resources would seem to young composers of to-day who even in comic operas feel obliged to use the trombones and drums for the accompaniment of the slightest recitative. In this opera the orchestra takes its rightful place, it does not seek to dominate. It is always conscious of the action on the stage, but it is not envious; it gladly assists, and strengthens the impression. Its tone-colors aid in the distinguishing of the characters. And above all, in the orchestra as well as on the stage, there is ever present the sense of dramatic truth and unerring instinct in the expression of it. The libretto of "Don Giovanni" has been often censured, and without real justice; for nearly all the feelings of humanity are expressed by the characters. The supernatural, the vulgar, tragedy and comedy are mixed together; even in the scene where the rake-helly hero plunges into eternal flames, the element of farce is present. Beethoven, it is true, thought the subject a scandalous one, unworthy of musical treatment; but it was admirably adapted to the dramatic temperament of Mozart. "Don Giovanni is a temperament of flame and fire that has no time for monologues; he acts; it is life without shackles, without curb, flowing as the lava of a volcano, which destroys everything in its path."