Madamina, il catalogo è questo

In Italia seicento e quaranta; In Alemagna[2] duecento e trentuna; Cento in Francia, in Turchia novantuna; Ma in Ispagna son già mille e tre.

Delle vecchie fa conquista Pel piacer di porle in lista; Sua passion predominante È la giovin principiante.

The aria's two halves reverse the usual order of cavatina followed by cabaletta: in the first, a quick Allegro in 4/4, Leporello has a patter summarizing the number and occupations of Don Giovanni's lovers, while in the second, an Andante con moto in 3/4, in the style of a polonaise (with a melody similar to that of the Larghetto of Mozart's earlier Quintet for Piano and Winds), he describes his approaches and preferences, while Donna Elvira presumably listens in horror.

In Gazzaniga's opera, the aria in which Don Giovanni's servant, Pasquariello, describes his master's catalogue of lovers to Donna Elvira begins:[4][5] Dell'Italia, ed Alemagna ve ne ho scritte cento, e tante.

From France and from Spain there are more than I know: be they ladies, city women, artisans, peasants, waitresses, cooks and scullery maids, it suffices they be female for him to have to make love to them.

Kierkegaard finds in this aria the true epic significance of the opera: condensing in large groups countless women, it conveys the universality of Don Giovanni as a symbol of sensuality and yearning for the feminine.

Some commenters have found that several devices in the text and the music manage to convey a universal meaning, something beyond a simple, humorous list of women: for instance, Luigi Dallapiccola remarks that the line "Cento in Francia, in Turchia novantuna", breaks the rhythm of octosyllables and so illuminates the whole aria.

[4] According to Massimo Mila, "this Commedia dell'arte gag (which used to be accompanied by the gesture of unrolling the catalogue's scroll towards the audience) had incalculable consequences in determining the romantic interpretation of Don Giovanni's character".