but a great genius could have found in this place a nucleus round which to develop a musical masterpiece. The character of the piece is of course buffo, not only because Don Giovanni is playing the part of Leporello, but because he is himself thoroughly enjoying the trick he is playing Masetto; these motives must therefore be blended. It is only necessary to compare this song with those of Leporello (Act I., 4; II., 7), to appreciate the essential difference in their style. The rapidly spoken passages give a tone of vulgarity, which is relieved by occasional involuntary expressions of greater dignity; passages such as--[See Page Image] could not have been sung by Leporello; they show us the cavalier beneath his disguise. In accordance with the situation the voice is kept parlando; and the orchestra to which the constructive detail is intrusted is so independently treated that it might without injury dispense with the voice, although each is in fact the necessary complement of the other. The mysterious importance and the apparent confidence of Don Giovanni, which form the fundamental motif of the situation when contrasted with the earnest attention and curiosity of the country people, are humorously conceived and the orchestra renders every turn of what is passing in the minds of all concerned. But, in spite of this, the musical characterisation can only be made fully effective by suitable pantomime on the part of all the characters, even of those who do not speak, except through the orchestra. Don Giovanni's true character, however, is not displayed until he comes in contact with the other, and more especially with the female, characters of the opera. His seductive powers are first practised towards Zerlina. She is represented as a simple village {ZERLINA.} (187)