History Theatre / DonGiovanni

* {{Tsundere}}: Masetto accuses his fiancee of being a hussy before she's said more than two words to Don Giovanni but reverts into a loving husband whenever there's no pesky interested man within 500 yards of his girl.

* BadassBaritone: Despite not being the lowest voice by far - a low tenor can manage the role, though it's almost never cast that way - Giovanni manages to outwit and out-badass everyone in the opera. Out of the other men, only the the Commendatore's basso profondo can be considered badass - basses Masetto and Leporello are mostly comic characters and Don Ottavio is a tenor.

* LoveYouAndEverybody: "I love them all! Who to one is devoted, to the rest must be faithless; mine is a heart of such infinite affection, there is not one I love not. And yet the women, dear unreas'ning creatures, my happy disposition call deceiving."

* AluminumChristmasTrees:
** Although the idea of aristocrats and peasants dancing at a party together seems like a flight of fancy nowadays; parties of a similar manner are depicted in not one but several paintings from the eighteenth century.
** The idea of people invited to a party just to see Don Giovanni eat seems fantastic and utterly absurd until you see a portrait from the eighteenth century depicting a bunch of commoners invited to watch half a dozen aristocrats eat.

* [[TenorBoy Don Ottavio]] -- The obligatory noble fiance of Anna to balance out the Don. Possibly the opera's OnlySaneMan - he's the only one who comes up with any practical ideas for taking out his father-in-law's murderer. Seems to consider Anna a {{Purity Sue}}; he doesn't doubt her for a second and does practically everything she wants. Always asking Anna to marry him, but she always brings up her period of mourning.

''Don Giovanni, or the Rake Punish'd'' is one of the most famous versions of the Don Juan legend and the second joint venture of the composer-librettist team of Music/WolfgangAmadeusMozart and Lorenzo Da Ponte. As a ''dramma giocoso'' (a genre-busting [[{{Dramedy}} mix of comedy and drama]]), the {{opera}} tells the story everyone has heard of and no one actually can narrate beyond saying that the protagonist is TheCasanova, while the Don Juan legend is in fact much older.

* VillainProtagonist: Giovanni is an unrepentant scoundrel and sociopath from the first scene, where his EstablishingCharacterMoment has him commit AttemptedRape and murder, to the last scene, where he refuses to apologize for anything he's done even to keep out of Hell itself.

* ShooOutTheClowns: Averted. Leporello not only remains on stage for the entire final scene, he even gets to make a few jokes even while being quite realistically terrified.

%% Administrivia/ZeroContextExample * VillainProtagonist: And damned proud of it, even when descending to Hell.

* AttemptedRape: Played straight or subverted, depending on the interpretation. Though Giovanni himself makes a point of saying that there's no talent beyond his (charming women), Anna is quite adamant that he covered her mouth and tried to embrace her by force and that she fought him off. Of course, she also says that she thought it was Ottavio, who, considering the respect he always shows her, would hardly have come into her bedroom in the middle of a night in a mask and cape. On the other hand, Giovanni never denies trying to rape Anna, and later attempts to take advantage of Leoporello's girlfriend offstage; this sort of thing certainly isn't beneath him; what we do know is that Anna is all but bodily throwing him out of her room in scene one, and there's no reason for her to believe anyone's watching.

** The film "Don Giovanni: Leporello's Revenge" features Dmitri Hvorostovsky as both Giovanni and Leporello simultaneously

* VillainProtagonist: And damned proud of it, even when descending to Hell.

* WeddingDay: For Masetto and Zerlina, but Giovanni has other ideas.

* IncrediblyLongNote: In ''Il Mio Tesoro''.

* FromACertainPointOfView: Of course Giovanni wants to marry every woman he woos! Marriage back then was sealed via consummation - [[DontExplainTheJoke meaning sex]].

* LyricalDissonance: The already mentioned love song ''Batti, batti, o bel Masetto''.

* ObligatoryBondageSong: In ''Batti, Batti, o bel Masetto,'' Zerlina begs Masetto to beat her up, saying that she'll kiss his hands no matter how much he slaps her. Though {{subverted}} as well, when she takes his refusal as proof that he really loves her after all.

* [[ThePowerofLove The Power Of Love]]: Zerlina's secret cure-it-all on a very beaten-up Masetto. Fixes broken bones and bleeding bruises within a matter of two scenes.

* TalkingToTheDead: And ''how!''

* FourTemperamentEnsemble: Masetto (choleric), Commendatore/Don Pedro (melancholic), Leporello (leukine), Ottavio (sanguine), Donna Anna (choleric/melancholic), Zerlina (melancholic/leukine), and Donna Elvira (leukine/sanguine).

* ObligatoryBondageSong: In "Batti, Batti, o bel Masetto," Zerlina begs Masetto to beat her up, saying that she'll kiss his hands no matter how much he slaps her. Though {{subverted}} as well, when she takes his refusal as proof that he really loves her after all.
** If it's included, "Per queste tue manine" can also be played like this.

* PatterSong: "Fin ch'han dal vino calda la testa", sung by Don Giovanni organizing a party.