New-York tribune., 1909-07-25

Louis Valrdot. who wrote little book describ-
ing the autograph Of Don Giovanni SAYS that
Mozart in the where the three bands
play thus simultaneously the word "accOrdano'
as direction 10 the stage musicians 20 initiate
the action Of tuning they instruments before fall
ing IN with their music OF this fact the reprint OF
the Iibretto used Prague and Vienna con-
tains mention but a footuote gives other sta ge
directions which indicate how desirOus Mozart was
that his ingenious and humorous conceit should
not be overlooked At the point where the minuet,
which the dance OF people OF quality, is played
he remarked Don Ottavio dances the minuet with
Donna Anna. at the cOntra-dance in Pa time:
Don Giovanni begins to dance a cOntra-dauce
with Zerlina": at the entrance OF the waltz "Le-
porello dances a Teitsch' with Masetto-" The
proper execution Of Mozart's elaborate scheme
puts the resources Of an opera house to pretty
severe test but there is ample reward in the
result. Pity that rule little intelligence is
shown by the ballet master in arranging the
dances. There is special significance in Mozart's
direction the cavalier hun:or the peasant girl
by stepping country dance with her. which is all
lost when he attempts 10 lead her into the aristo
cratic m!nuet. is usually done
At the height OF the festivities Don Giovanni
succeeds IN leading Zeriina into an inner room.
from which piercing shrek a moment
later. Anticipating trouble I.eporello hasteus 10
his master 10 warn him. Don Ottavio and his
friends storm the door OF the ante-rOom out OF
which now comes Done Giovanni dragging LeporelIo
and uttering threats OF punishment against him
his mask and draws his sword; Donna Anna and
Donna EIvira confront the villain TIE musicians.
servants and rustcs away In alright For a
moment Don Giovanni loses presence OF mind. but
his wits and courage returning he beats down the
sword Of Don Ottavio. and. with Leporello. makes
good his escape.
The incidents OF the second act move with less
rapldity. and. until the fateful denouement is
reached. a lower plane Of interest than those
Of the first. which have been narrated Don Clio
vann turns his attentions TO the handsome wait
ing maid OF Donna Elvira. To get the mistress
out of the way he persuades LepOrelIo to exchange
cloaks and hats with him and station himself be-
fore her balcony window. while he uttsrs words OF
tenderness and feigned repentance The lady lis
tens and descends to the garden where Leporello
receives her with effusive protestatons: but Don
Giovanni rudeIy disturbs them and they run away
Then the Hbertine. in the habit his valet sere-
nades his charmer. The song. Deb vieni ala
fnestTa." is Of melting tenderness and gaIlantry;
words and music float graciously the evening
air in company with a delightfully."- pquant tune
picked out a mandolin. The maid IS drawn to
the window, and Don Giovanni is in full expecta-
ton Of another triumph. when Masetto confronts
him with a rabble OF peasants ali armed They
are In search OF the miscreant who had attempted
70 outrage Zerlina. Don Giovanni is protected by
his disguise. lie feigns willingness 20 help in the
hunt and rids himself of Masetto'S compan mons
by sending them fools erraud to distant parts
Of the garden. Then he cunningly possesses him
self Of MasettO's weapons and beabors him stOutly
with his cudgei. He makes off, and Zerlina
hearing Masettos cries, hurries in his hurts
with pretty endearments. (Air: 'Vedrai carfno ~
Most unaccountably. as II will 10 those who
seek for consistency and In all parts OF the
play. all Of its actors except Don Giovanni find
themselves together in courtyard (or room sc-
cording to the notions OF the stage manaEer) Ie-
porello is trying to escape from Elvira who sttu
thinks him Don Giovanni. and Is first confronted
by Masetto and Zerlina and then by Ottavio and
Anna. He Is still in his masters hat and cloak
and is taken vigorously to task. but discIoses his
Identity when il becomes necessary in order 70
escape beating Convinced at last that Don Clio
vanni is the murderer OF the COmmandant DON
Ottavio commends his love to the care OF her
friends and goes to denounce the Hbertne IN tba
officers of the law.
The last scene Is reached. Don Giovanni seats6
at his table eats, drinks INDUCES in badinage with
his servant and listens TO the music Of his privata
band. The musicians play melodies from popular
operas OF the period in which Mozart wrote-not
Spanish melodies Of the unhxed time IN which Dor
Giovanni may have lived: