Add one more to the tally of those who have written about this (in)famous number, in which Leporello gleefully enumerates Don Giovanni’s conquests. (The archaic euphemism may make us wince, but what other noun does justice both to the Don’s proclivity for sexual violence and to the catalogue’s reticulation of Europe into national territories?) It is telling that Don Giovanni outsources the tasks of both counting and recounting to his servant. For Søren Kierkegaard, ‘Leporello is the epic narrator’ performing nothing less than ‘a survey of his master’s life’. For Umberto Eco, conversely, the aria is ‘pragmatic’ rather than ‘poetic’ (a quality reserved for the intoning of litanies such as the Catalogue of Ships in the Iliad): Leporello is no more and no less than ‘a precise bookkeeper’ whose catalogue is ‘mathematically complete’. In its structural ordering of events as well as its semantic content, the aria places quantities before qualities. Framed by the music’s four-square metrical configuration, the ‘rhythmical enunciation’ of Leporello’s patter bounces around the interstices of patterns established by the chattering strings: rising 5-6 harmonic sequences and cadential formulae punctuate overdetermined exchanges between the violins and cellos that sound less dialogical than autological, as if the catalog were algorithmically generating its own contents. Only subsequently does Leporello indicate that his geotagged list might be tabulated by introducing the parameters of rank, physiognomy and age as other potential means of organising its stream of raw data. In the aria’s second half, a mock-elegant minuet that closely traces the opening contours of the Larghetto from Mozart’s Quintet for Keyboard and Winds, K. 452, these qualities are amplified and refined, only to be unceremoniously flattened by Leporello’s leering envoi to the aghast Donna Elvira: ‘Non si picca – se sia ricca, / Se sia brutta, se sia bella; / Purché porti la gonnella, / Voi sapete quel che fa’ (‘It doesn’t matter if she’s rich, / Ugly, or beautiful; / If she wears a skirt, / You know what he’ll do’). Its crude payoff notwithstanding, Leporello’s categorical exposition of feminine qualities adds multiple dimensions to the linear enumeration of the aria’s opening

中文翻译：

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数量的质量莫扎特，《 Madamina，il catalogoèquesto》（Leporello），Don Giovanni，第一幕

在已经写过这个著名数字的人的计数中再加上一个，其中Leporello高兴地列举了Don Giovanni的征服。（过时的委婉语可能使我们畏缩，但唐纳（Don）对性暴力的偏爱和目录对欧洲进入本国领土的表述又有什么其他名词可以解释呢？）这表明唐·乔万尼（Don Giovanni）将计数和重新计数的任务外包给了他的仆人。对于索伦·基尔凯郭尔（SørenKierkegaard）而言，“勒波雷洛（Leporello）是史诗般的叙述者”的所作所为无非是“对主人的生活进行的一次调查”。相反，对于Umberto Eco，咏叹调是“务实的”而不是“诗意的”（保留伊利亚特《船舶目录》之类的礼拜仪式的音质）：Leporello既是“精确的簿记员”，也不少于“精确的簿记员”。其目录是“数学上完整的”。在事件的结构顺序及其语义内容中，咏叹调将数量置于质量之前。在音乐的四方形音调配置的框架下，Leporello拍子的“节奏性音调”在颤动的弦所建立的模式间隙周围反弹：上升的5-6和声序列和脚踏式调式使小提琴和大提琴之间的声音交换过分确定对话式的而不是自动的，就像目录是通过算法生成自己的内容一样。Leporello仅在随后才指出，可以通过引入等级，相貌和年龄等参数作为组织其原始数据流的其他潜在手段，来列出他的地理标记列表。在咏叹调的下半场，模拟优雅的尖塔，紧密地模仿了莫扎特的《键盘与风》（K. 452）五重奏的Larghetto的开放轮廓，这些品质得到了放大和完善，直到Leporello的嘲讽使Donna Elvira毫不客气地变平了：“ Non si picca – se sia ricca，/ se sia brutta，se sia bella；/Purchéporti la gonnella，/ Voi sapete quel che fa'（“不管她有钱，/丑陋还是美丽； /如果她穿裙子，/你知道他会做什么”）。尽管获得了粗略的回报，但勒波雷洛对女性特质的绝对诠释为咏叹调的开头的线性枚举增加了多个维度 'Non si picca – se sia ricca，/ se sia brutta，se sia bella；/Purchéporti la gonnella，/ Voi sapete quel che fa'（“不管她有钱，/丑陋还是美丽； /如果她穿裙子，/你知道他会做什么”）。尽管获得了粗略的回报，但勒波雷洛对女性特质的绝对诠释为咏叹调的开头的线性枚举增加了多个维度 'Non si picca – se sia ricca，/ se sia brutta，se sia bella；/Purchéporti la gonnella，/ Voi sapete quel che fa'（“不管她有钱，/丑陋还是美丽； /如果她穿裙子，/你知道他会做什么”）。尽管获得了粗略的回报，但勒波雷洛对女性特质的绝对诠释为咏叹调的开头的线性枚举增加了多个维度