This ungrateful part of a deserted mistress has for the most part been neglected. If a great artist, such as Schroder-Devrient, had conceived the idea of embodying on the stage the dignified character of Elvira as Mozart created it, the representation of the opera would have been placed on an altogether different footing. Elvira is in an outward position of equality with Don Giovanni. She is his superior in nobility of mind, and she has been deeply injured by him. Her first air (Act I., 3)[164] shows her as a woman of strong character and passionate feeling, as far from the ladylike reserve of Donna Anna as from the youthful grace of Zerlina. As unreservedly as she had given her love to Don Giovanni does she now yield to her thirst for revenge, and even this proceeds not so much from injured pride as from disappointed love, ready to burst in new flames from its ashes. The tone-colouring of the instrumentation in this air is in very striking contrast to that of the previous songs; clarinets are used for the first time, and with the horns and bassoons (no flutes) give a full and brilliant effect. Don Giovanni overhearing her, and sympathising with her while {ELVIRA.} (191) not recognising her, together with the running comments he makes on her to Leporello, add a mixture of humour to the scene which could not be more gracefully expressed. The laugh is unsparingly turned against Elvira, and is occasioned by the passionateness with which she has compassed her own discomfiture. The musical rendering clearly shows that in her proper person she remains unaffected by it. Resolved to pursue Don Giovanni, and defeat his machinations, she intercepts him as he is hastening into his casino with Zerlina, and exclaims to the deluded maid:-- Ah! fuggi il traditor! Non lo lasciar più dir; Il labbro è mentitor E falso il ciglio! Da' miei tormenti impara A creder a quel cor A nasca il tuo timor Dal mio periglio!