onstage ensembles to play separate dance music in synchronization with the pit orchestra, each of the three groups playing in its own metre (a 3/4 minuet, a 2/4 contradanse and a fast 3/8 peasant dance), accompanying the dancing of the principal characters. In act 2, Giovanni is seen to play the mandolin, accompanied by pizzicato strings. In the same act, two of the Commendatore's interventions ("" and "") are accompanied by a wind chorale of oboes, clarinets, bassoons, and trombones (with cellos and basses playing from the string section). Revision for Vienna Mozart also supervised the Vienna premiere of the work, which took place on 7 May 1788. For this production, he wrote two new arias with corresponding recitatives – Don Ottavio's aria "" (K. 540a, composed on 24 April for the tenor Francesco Morella), Elvira's aria "" (K. 540c, composed on 30 April for the soprano Caterina Cavalieri) – and the duet between Leporello and Zerlina "" (K. 540b, composed on 28 April). He also made some cuts in the Finale in order to make it shorter and more incisive, the most important of which is the section where Anna and Ottavio, Elvira, Zerlina and Masetto, Leporello reveal their plans for the future (""). In order to connect "" ("It must have been the ghost she met") directly to the moral of the story "" ("This is the end which befalls to evildoers"), Mozart composed a different version of "" ("So the wretch can stay down there with Proserpina and Pluto!"). These cuts are very seldom performed in theatres or recordings. Later performance traditions The opera's final ensemble was generally omitted until the early 20th century, a tradition that apparently began very early on. According to the 19th-century Bohemian memoirist Wilhelm Kuhe, the final ensemble was only presented at the very first performance in Prague, then never heard again during the original run. It does not appear in the Viennese libretto of 1788; thus the ending of the first performance in Vienna without the ensemble as depicted in the film Amadeus may be an accurate portrayal. Nonetheless, the final ensemble is almost invariably performed in full today. Modern productions sometimes include both the original aria for Don Ottavio, "", and its replacement from the first production in Vienna that was crafted to suit the capabilities of the tenor Francesco Morella, "". Elvira's "" is usually retained as well. The