What is the instrumentation of Verdis "La Donna e Mobile" from the opera Rigoletto

Verdi
uses the basic orchestra of woodwinds in pairs (flute and piccolo, oboes, clarinets, bassoons),
horns, and strings (first and second violins, violas, violoncellos, and contrabasses). Notice
that in La donna ¨ mobile the full orchestra used in the overture and
climactic and ensemble scenes is not employed. The aria uses no trumpets, trombones, or
percussion instruments. This is typical of a solo aria in the eighteenth and nineteenth
centuries. The stronger brass and percussion are not used throughout an entire opera; they're
too heavy and they overpower a solo singer, as would be the case in this aria sung by the Duke,
a tenor.

As in all operas by major composers, in this aria the
instrumentation fits the words. Verdi typically uses what has (sometimes derogatorily) been
termed an oom-pah-pah accompaniment, in this case in triple time, with the violins playing the
theme in octaves to introduce the aria, supported by the woodwinds. The sharp sound of the
piccolo dominates the theme and the answering phrase to the Duke's repeated words thateach
stanza: muta d'accento, e di pensier.

Theof this aria,
somehow borne out by the bold thrusting theme in octaves played by violins and woodwinds, is
that--like Rigoletto as a whole--it's extremely beautiful and sensuous
music accompanying words and a story that are tragic and even ugly. The Duke, in this aria,
basically puts down women and claims that they're all false and unfaithful. Actually it's the
Duke himself who is this way, and the plot of the opera revolves around his victimization of the
young girl Gilda who is the daughter of his court jester, Rigoletto. The drama, based on Victor
Hugo's play Le roi s'amuse, is brutal and horrifying.