Don Giovanni’s overture is concise, defined, strongly structured, and above all, impregnated with the essence of the whole opera. 

It is powerful like a god’s idea, turbulent like a world’s life, harrowing in its earnestness, palpitating in its desire, crushing in its terrible wrath, animating in its full-blooded joy; it is hollow-toned in its judgment, shrill in its lust; it is ponderous, ceremonious in its awe-inspiring dignity; it is stirring, flaring, dancing in its delight.

And this it has not attained by sucking the blood of the opera; on the contrary, it is rather a prophecy in its relation to the opera.