combat with Don Giovanni. Donna Anna vows vengeance on the murderer. In the second act Don Giovanni determines to flee, and orders Arlechino to be ready in the tavern, and to order a meal. Isabella, who has pursued Don Giovanni, extorts from Don Alfonso a promise of reparation. Don Giovanni, seized with remorse, takes refuge in the mausoleum, and falls asleep near the statue of the Commendatore. There he is found by the sorrowing Anna, whose love and pity he seeks in vain to kindle. Arlechino summons him to the tavern, where all is prepared; he invites the statue to be his guest, and is sorely perplexed by the answer given. Arlechino in the tavern makes love to the hostess Corallina. Donna Anna receives from Don Alfonso the assurance of the speedy pursuit and punishment of Don Giovanni. The latter sups with Arlechino, waited upon by Corallina and Tiburzio; he toasts the approving audience, Arlechino and the pretty maids, in German verse! The statue appears, but does not eat, invites Don Giovanni and disappears; the meal is continued with the utmost composure. In the third act, Don Giovanni is the guest of the Commendatore in the mausoleum; he refuses to repent, and is cast into the abyss. Don Alfonso and Donna Anna are acquainted by Arlechino of this consummation. Don Giovanni is seen tormented by demons. The libretto differs neither in design nor execution from that of an ordinary opera buffa. In 1787 "Il Convitato di Pietra," by Gius. Gazzaniga, was given in Venice at the Teatro di S. Mosè, and was received with much applause. The opera was given in Ferrara, Bergamo,[120] and Rome, "every evening for a month, till no one was satisfied who had not seen Don Juan roasting in hell, and the late lamented Commandant rising to heaven as a disembodied spirit";[121] it was played in Milan, 1789; in Paris, 1791, where, however, in spite of the brilliant concluding scene, it was only moderately successful,[122] and in London (notwithstanding Da Ponte's contradiction) in 1794.[123] The libretto is lost, but fragments of a score which Sonnleithner discovered in Vienna[124] show that Da Ponte {GAZZANIGA's "CONVITATO DI PIETRA."} (159) must have made liberal use of this libretto,[125] if, indeed, the two have not a common source:--.