ABSTRACT
This chapter considers how the music of Mozart's seduction scenes sounds the Enlightenment's sexual ethics of desire. It falls into three parts in accordance with the operas, a nice musical touch. The 'real' Susanna is also hiding, and sings along with the Contessa and Figaro, 'La cieca prevenzione delude la ragione', which binds together the three characters' intentions although they are not on stage together. Zerlina is even more musically compliant in the recitative before her duet with Giovanni, 'La ci darem la mano'. The time signature changes to for the second half of the duet, most of which is sung in thirds. As an alternative to the musical seductions discussed so far, consider Masetto and Zerlina's secco recitative before their duet 'Vedrai carino'. Dorabella instigates the musical dialogue by obligingly resolving the diminished seventh chords that accompany Guglielmo's two opening groans.
