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* WhatDoYouMeanItsNotPolitical: In the Act 1 finale, Mozart takes a single line from Da Ponte's libretto, "Viva la libertà!" (roughly, "Hooray for freedom!") and has all the characters repeat it multiple times for about a minute, rising to a huge climax before the story is allowed to continue. Since Mozart was writing only two years before UsefulNotes/TheFrenchRevolution, this moment has created a ''lot'' of speculation on whether it's supposed to mean something more than just Giovanni's idea of the freedom to do whatever he wants.
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* WhatDoYouMeanItsNotPolitical: In the Act 1 finale, Mozart takes a single line from Da Ponte's libretto, "Viva la libertà!" (roughly, "Hooray for freedom!") and has all the characters repeat it multiple times for about a minute, rising to a huge climax before the story is allowed to continue. Since Mozart was writing only two years before UsefulNotes/TheFrenchRevolution, this moment has created a ''lot'' of speculation on whether it's supposed to mean something more than just Giovanni's idea of the freedom to do whatever he wants.wants, as he was just the type of callous aristocrat that would be deposed by the revolutionaries.
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* CommonKnowledge: It's sometimes assumed that the original Prague version of the opera just ended with Don Giovanni plunging into hell, and that the final sextet for the other characters was added for the later Vienna production to give it a more "moral" ending. Actually, the reverse may have been true. The final sextet was definitely part of the original Prague version, but in Vienna it may have been cut: it is included in the score of the Vienna version, but not in the separately-printed libretto, and no one alive today knows which ending was used in performance.
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It's not a Big No. It's just a wordless "Ah!"
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* NightmareFuel: The climactic scene: the Don is DraggedOffToHell by a LivingStatue, to the accompaniment of a chanting chorus of devils, as he and Leporello each scream a BigNo. Granted, the Don [[KarmicDeath did deserve it]], but it's quite chilling to dwell on, and Mozart's music ensures you'll dwell on it.
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* NightmareFuel: The climactic scene: the Don is DraggedOffToHell by a LivingStatue, to the accompaniment of a chanting chorus of devils, as he and Leporello each scream let out a BigNo.terrified scream. Granted, the Don [[KarmicDeath did deserve it]], but it's quite chilling to dwell on, and Mozart's music ensures you'll dwell on it.
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** In the Act I finale, Leporello also [[ForcedDancePartner forces Masetto to dance with him]] to distract him from the Don's advances on Zerlina.
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* CutSong: For the Vienna production (the second production after the opera's premiere in Prague), Mozart cut Ottavio's Act Two aria "Il mio tesoro," reportedly because it was too difficult for the singer, and substituted the simpler "Dalla sua pace" in Act One. Most modern productions use both arias.
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Evil Is Sexy TRS; this has become an objective, in-universe trope.
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* EvilIsSexy: Giovanni may be a textbook example of [[AristocratsAreEvil evil aristocrats]], but the princesses on the list would hardly be only after his lesser wealth...
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Dewicking Anything That Moves. Kinda just seems like (villanous) bisexuality here, so expanding the Depraved Bisexuality wick. (And besides, one shouldn't chain sinkholes)
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** And then (depending on the translation) there's the line where Leporello says that Don Giovanni "took his innocence." He then turns to Elvira and says "You know what it's like." It doesn't take a lot of imagination to imagine what that could mean. Considering this is [[TheCasanova Don Giovanni]], taking it a [[AnythingThatMoves step]] [[DepravedBisexual further]] isn't too hard.
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** And then (depending on the translation) there's the line where Leporello says that Don Giovanni "took his innocence." He then turns to Elvira and says "You know what it's like." It doesn't take a lot of imagination to imagine what that could mean. Considering this is [[TheCasanova Don Giovanni]], taking it a [[AnythingThatMoves step]] [[DepravedBisexual up further]] isn't too hard.
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* 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.
** 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.
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* CrackShip: Some like to imagine that Leporello and Donna Elvira found each other after the events of the opera and began a romance for real.
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* FoeYay: As noted in AlternateCharacterInterpretation, quite a few fans suspect that Donna Anna, although engaged to the virtuous Don Ottavio, [[BettyAndVeronica is secretly attracted to the lady-killer of a scoundrel Don Giovanni]].
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* FoeYay: FoeYayShipping: As noted in AlternateCharacterInterpretation, quite a few fans suspect that Donna Anna, although engaged to the virtuous Don Ottavio, [[BettyAndVeronica is secretly attracted to the lady-killer of a scoundrel Don Giovanni]].
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* WhatAnIdiot: Masetto and Elvira fall victims to this during Act 2, immediately trusting that "Leporello" (the Don in disguise) is perfectly willing to kill his master (having been loyal until then) and that "Giovanni" (Leporello in disguise) is now quite ready to repent by marrying Elvira (disregarding the famous Catalogue Aria, which went through the Don's entire M.O.). The finale also qualifies: the characters believe Leporello's unlikely story about his master's demise in spite of his earlier lies; the only other proof is Elvira's off-handed remark about 'the ghost she saw' that no one even bothers to comment upon.
** Don himself qualifies as this in the climax. It was implied by the Commendatore that should Giovanni repent he would have caught a glimpse of what Heaven would be like. Whilst Don refused to hear of it and suffered the consequences.
** Don himself qualifies as this in the climax. It was implied by the Commendatore that should Giovanni repent he would have caught a glimpse of what Heaven would be like. Whilst Don refused to hear of it and suffered the consequences.
