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“May Such Great Effort Not Be in Vain”: Mozart on Divine Love, Judgment, and Retribution*

“La ci darem la mano,” Don Giovanni promises the peasant girl Zerlina in act 1 of Mozart’s second opera written in collaboration with librettist Lorenzo da Ponte. With this false promise of marriage, he lures her away from her betrothed on the very day of her wedding. One more time on this day, the “rake”—as the subtitle of the opera calls him— offers his hand to a match of sorts. This time around, the match has truly been made in heaven, although—admittedly—it ends up in hell. In the penultimate scene, a stone statue comes in from a churchyard to Don Giovanni’s dining hall and invites him to join it at the heavenly banquet table. Now it is for the Don to offer his hand in pledge, and so he does amid self-assurances that his “heart is firm within me.” Yet, when the statue spells out to him the conditions with which this invitation to the divine dining comes—repentance for his sins, as we might expect—the rake reconsiders, and all hell sets loose. The spectacle of doom that follows might well be read as a dramatic rendering of the threats of damnation in the Catholic liturgy of the dead, which Mozart set to music in 1791, four years after the composition of Don Giovanni: excruciating pains of body and soul seize the sinner, and a chilling chorus of hollow-sounding voices announces that “No doom is too great