Editing Don Giovanni (section)

=== Act 1 ===
{{Listen|type=music
|filename=Wolfgang Amadeus Mozart - Don Giovanni - Overtüre.ogg|title=Overture|description=Fulda Symphonic Orchestra
|filename2=W. A. Mozart - Don Giovanni - 02. Notte e giorno faticar (Josef Krips, Wiener Staatsoper, 1955).ogg|title2="Notte e giorno faticar", "Non sperar, se non m'uccidi"|description2=[[Fernando Corena]] (Leporello), [[Suzanne Danco]] (Donna Anna), [[Cesare Siepi]] (Don Giovanni); [[Vienna Philharmonic]], [[Josef Krips]] (1955)}}
The [[overture]] begins with a thundering [[D minor]] cadence, followed by a short {{Lang|it|misterioso}} sequence which leads into a light-hearted [[D major]] allegro.

:''The garden of the Commendatore''
Leporello, Don Giovanni's servant, grumbles about his demanding master and daydreams about being free of him ("{{lang|it|Notte e giorno faticar|italic=no}}" – "Night and day I slave away"). He is keeping watch while Don Giovanni is in the Commendatore's house attempting to seduce the Commendatore's daughter, Donna Anna.{{efn|1=In the absence of an unambiguous indication in Da Ponte's libretto, it is reasonable to interpret this incident variously. However, in a discussion of the literary tradition available to Da Ponte as detailed in {{harvnb|Freeman|2021|pp=254–262}}, it is clear that there was no precedent for the portrayal of Don Juan as a rapist in the literary tradition that extended from Da Ponte's time back to the prototype Don Juan drama, [[Tirso de Molina]]'s early seventeenth-century play ''[[El burlador de Sevilla]]''. Da Ponte's scene at the beginning of the opera is based on a standard scenario of earlier dramas in which Don Juan attempts to seduce a noblewoman in disguise as her lover, one of his standard ''burlas'' (or "tricks" of seduction). Besides no precedent for rape, there is also no portrayal in the Don Juan literature before Da Ponte of impregnation or the contraction of venereal disease in spite of Don Juan's numberless sexual encounters.}} Don Giovanni enters the garden from inside the house, pursued by Donna Anna. Don Giovanni is masked and Donna Anna tries to hold him and to unmask him, shouting for help. (Trio: "{{lang|it|Non sperar, se non m'uccidi, Ch'io ti lasci fuggir mai!|italic=no}}" – "Do not hope, unless you kill me, that I shall ever let you run away!"). He breaks free and she runs off as the Commendatore enters the garden. The Commendatore blocks Don Giovanni's path and forces him to fight a duel. Don Giovanni kills the Commendatore with his sword and escapes with Leporello. Donna Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Don Ottavio swear vengeance against the unknown murderer. (Duet: "{{lang|it|Ah, vendicar, se il puoi, giura quel sangue ognor!|italic=no}}" – "Ah, swear to avenge that blood if you can!")

:''A public square outside Don Giovanni's palace''
{{listen|type=music|help=no
|filename=W. A. Mozart - Don Giovanni - 06. Madamina, il catalogo è questo (Josef Krips, Wiener Staatsoper, 1955).ogg
|title="Madamina, il catalogo è questo"
|description=Fernando Corena, Vienna Philharmonic, Josef Krips (1955)}}
[[File:Don Giovanni 0202 Michelides.jpg|thumb|upright|[[Ildebrando D'Arcangelo]] as Don Giovanni, [[Salzburg Festival]] 2014]]
Leporello tells Don Giovanni that he (Giovanni) is leading a rotten life; Don Giovanni reacts angrily. They hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking revenge ("{{lang|it|Ah, chi mi dice mai|italic=no}}" – "Ah, who could ever tell me"). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognise each other and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him, and then hurries away.

Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 ("[[Madamina, il catalogo è questo]]" – "My dear lady, this is the catalogue"). In a frequently cut recitative, Donna Elvira vows vengeance.

:''The open country''

A marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Don Giovanni is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realising that Don Giovanni means to remain behind with Zerlina, Masetto becomes angry ("{{lang|it|Ho capito! Signor, sì|italic=no}}" – "I understand! Yes, my lord!") but is forced to leave. Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: "[[Là ci darem la mano]]" – "There we will entwine our hands").

{{Listen|type=music|help=no
|filename=W. A. Mozart - Don Giovanni - 17. Dalla sua pace (Josef Krips, Wiener Staatsoper, 1955).ogg|title="Dalla sua pace"|description=[[Anton Dermota]], Vienna Philharmonic, Josef Krips (1955)
|filename2=W. A. Mozart - Don Giovanni - 19. Finch'han dal vino (Josef Krips, Wiener Staatsoper, 1955).ogg|title2="Champagne Aria"|description2=Cesare Siepi, Vienna Philharmonic, Josef Krips (1955)}}
Donna Elvira arrives and thwarts the seduction ("{{lang|it|Ah, fuggi il traditor|italic=no}}" – "Flee from the traitor!"). She leaves with Zerlina. Don Ottavio and Donna Anna enter, plotting vengeance on the still unknown murderer of Donna Anna's father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni's help. Don Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: "{{lang|it|Non ti fidar, o misera|italic=no}}" – "Don't trust him, oh sad one"). As Don Giovanni leaves, Donna Anna suddenly recognises him as her father's murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the impostor (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: "Or sai chi l'onore Rapire a me volse" – "Now you know who wanted to rob me of my honour"). In the Vienna version, Don Ottavio, not yet convinced (Donna Anna having only recognised Don Giovanni's voice, not seen his face), resolves to keep an eye on his friend ("{{lang|it|Dalla sua pace la mia dipende|italic=no}}" – "On her peace my peace depends").

Leporello informs Don Giovanni that all the guests of the peasant wedding are in Don Giovanni's house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organise a party and invite every girl he can find. (Don Giovanni's "Champagne Aria": "{{lang|it|Fin ch'han dal vino calda la testa|italic=no}}" – "Till they are tipsy"). They hasten to his palace.

:''A garden outside Don Giovanni's palace''

{{Listen|type=music|help=no|filename=W. A. Mozart - Don Giovanni - 21. Batti, batti, o bel Masetto (Josef Krips, Wiener Staatsoper, 1955).ogg|title="Batti, batti, o bel Masetto"|description=[[Hilde Güden]], Vienna Philharmonic, Josef Krips (1955)}}
Zerlina follows the jealous Masetto and tries to pacify him ("{{lang|it|Batti, batti o bel Masetto|italic=no}}" – "Beat, O beat me, handsome Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Don Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue the seduction, until he stumbles upon Masetto's hiding place. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Don Giovanni then leads both offstage to his ballroom. Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master's party. They accept the invitation and Leporello leaves the balcony. Alone, Don Ottavio and Donna Anna pray for protection, Donna Elvira for vengeance (Trio: "{{lang|it|Protegga il giusto cielo|italic=no}}" – "May the just heavens protect us").
[[File:Luigi Bassi480.jpg|thumb|upright|[[Luigi Bassi]] in the title role of ''Don Giovanni'' in 1787. The mandolin music for the premiere performance was played by [[Johann Baptist Kucharz|J. B. Kucharz]].<ref name=mednotes>{{Cite AV media notes |title= Mandolin Music, Beethoven, Hummel|year= 1969|url= https://archive.org/stream/mandolinmusicsou00sciv/mandolinmusicsou00sciv_djvu.txt |access-date= 24 May 2019 |first= Joseph|last= Braunstein|publisher=[[Nonesuch Records]]|location= New York}}</ref>]]

:''Don Giovanni's ballroom''

As the merriment, featuring three separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from the room, accuses Leporello of assaulting Zerlina himself, and threatens to kill him. The others are not fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. But despite being denounced and menaced from all sides, Don Giovanni remains calm and escapes – for the moment.