Life of Mozart

;ZERLINA. 157maiden; and the little duet (Act I,, 5) which she sings with heraffianced lover amid the joyful acclamations of their friends,expresses innocent gladness in the simplest possible mannerand with quite a popular tone.-^*^^ Don Giovanni is the firstto arouse sentiments which have hitherto slumbered unsuspectedin her bosom. The simple peasant girl becomesan easy prey to the elegant man of the world; her vanityis flattered by his condescension, and his way of expressingthe tender emotions excited in him by sensual gratificationimpresses Zerlina's innocent mind with a conviction of truthfulness,and rouses so irresistible a love towards him thatall other considerations are cast into the shade. This is themain idea expressed in the duet (Act I., 6), wherein DonGiovanni makes speedy conquest of Zerlina's heart. Thefeeling of mutual satisfaction to which they both yield, as ithas been preceded by no strife of passions, gives rise to anexpression of unalloyed happiness cradled in softest, warmestsunlight. The second part was indeed required to containmore of fire and passion, but the truth of the characterisationhas probably suffered thereby. Zerlina's nature is neitherdeep nor passionate, but light and impressionable ; and DonGiovanni's chief weapon is his power of assimilating himselfto the woman whom he designs to attract. This point hasbeen made admirable use of by Mozart.^^^ Such a broadpsychological fact is, however, easy to represent ; that whichcan neither be analysed nor reproduced is the effect of thetender intensity of the simple notes, which penetrate the soullike the glance of a loving eye.At the second interview between the two the state of affairsis considerably modified.Zerlina has been warned by Elvirashe has just calmed Masetto's jealousy with some difficulty,and is aware that he overhears ; she seeks, therefore, to repelißiThis little duet and chorus is written on different paper, like Masetto'sair (Anh. 2). The two were not inserted later, but written in Prague, duringthe rehearsals, when the whole of this part seems to have been revised.1S2 In the autograph score the second part has no new tempo marked ;Mozart intended to denote the climax by the change of beat, not by acceleratedtempo. The chromatic interlude, which Ulibicheff looks upon as a moral warning(Vol. II., p. 125), gives me the impression of sensual longing.