form rises high above her, and she no longer takes the lead in the expression of astonishment and indignation. After the sestet, when Leporello had escaped from the hands of Zerlina, there was inserted in Vienna an air for Elvira, in which the violence of her passion is moderated to a degree almost incredible. The softened mood in which the feeling of her inextinguishable love is expressed no longer as anger against the traitor, but as pity for the lost sinner, is, when rightly delivered,[168] most admirably represented; but the dignity and nobleness which have stilled the waves of sorrow and revenge are not really consistent with the fire and force of the true Elvira. Then, also, the accents of disappointed love, which Mozart knew how to evoke with such masterly insight, are scarcely present at all in this air. Nevertheless, considered musically it is of great beauty, and the voices are most effectively supported by obbligato solo instruments, which are never elsewhere used in exactly the same way by Mozart. This charming piece is not inappropriate in its own place, but it does not render either situation or character with the same breadth or accuracy which Mozart elsewhere displays in "Don Giovanni." Any idea of a closer connection with Don Giovanni being now out of the question, Elvira, feeling also that her own existence is rendered worthless, resolves to enter a convent. But her character and her undying affection forbid her to part for ever from Don Giovanni without calling him to repentance and amendment. Her entrance in the second finale interrupts the merriment of Don Giovanni and Leporello at table, and, like a landscape in changing lights, the whole tone of the music is altered at a stroke.[169] Her warning here is very different to that which she addressed to Zerlina. A stream of glowing words comes from the very depths of her love-tossed heart, and beats in vain against the overweening pride of her heartless betrayer. At first he seeks to treat her appeal as a jest, which may be humoured; and when her prayers, her tears, her dismay are thereby {DON GIOVANNI.} (196)