I find more unity in this opera than in Wagner's earlier works for the stage, although the composer's views of the relation between orchestra and singers are here, as everywhere in his music, peculiar - the singers with long declamatory recitatives, and often 'parlando,' have to struggle, as best they can, with overwrought orchestral modulations and effects. I thought I caught some echoes of 'Don Juan,' in that scene where Leporello in a minuet rhythm invites the 'maschere' to the ball.