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The pairing of controversial director and bad-boy conductor brings some thrills but the Salzburg Festival's new Don Giovanni proves disappointingly uninvolving. 

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

“Who's dead, you or the old man?” asks Leporello after Don Giovanni’s duel with the Commendatore. What if the answer was that they had both received fatal wounds?

Cut-down Mozart meets monochrome cinema. This certainly won’t be the most sumptuous Don you’ll ever see, but it is committed, imaginative and admirably compact.

Livermore's staging implies two different storylines – do we only see the result of Don Giovanni's hallucinations?

Andrew Staples creates an austere, monochrome semi-staging that's strangely appropriate to the times; Peter Mattei and John Lundgren lead an excellent cast.

Lots of people talk about keeping opera relevant. WNO shows why this opera always has been.

David McVicar's dark and gothic Don Giovanni is revived in Sydney, with stand-out performances from Luca Micheletti as an unapologetic and dashing Don, and Eleanor Lyons as a magnificent Donna Anna

The Don is dark and light, the production somewhere in between, with strong singing and musical direction but stodgy staging. 

The Orchestra of the 18th Century proves the main asset of a rewarding Don Giovanni at the Amsterdam Concertgebouw. 

Kasper Holten's psychological take on the louche lothario remains controversial, but in its third revival, Erwin Schrott's powerful assumption of the title role is a delight.

Paula Sides as Donna Anna has an appealing sound throughout her range, a hint of spinto power, and gave the vocal performance of the night.

Don Giovanni returns to the Palais Garnier. The production by Ivo van Hove lacks energy but is wonderfully served by a cast of great young talents.

As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

The Met's spectators love Mozart’s opera, but they deserve an updated staging.

The Royal Swedish Opera revives Tandberg’s 2014 production with a solid cast of Swedish singers.

Curtis Institute singers and orchestra rescue Mozart's Don Giovanni from being overwhelmed by pianos.

A terrific cast takes on the latest revival of Kasper Holten’s video-infused staging of Mozart’s opera buffa.

A disappointing new production by David Marton at Opéra de Lyon. 

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

A strong cast take us to the brink of damnation in Welsh National Opera’s revival of Don Giovanni.

Alessandro Talevi's production of Don Giovanni, conducted by Christoph Altstaedt, receives a welcome revival at the Grand Theatre, Leeds. 

Jean-Louis Martinoty’s scenically seductive Don Giovanni comes as a welcome relief from recent Regietheater aberrations. 

Christian Gerhaher’s experience in a role he knows well rescued an evening of mitigated pleasures.

The King of Opera leads an inspired performance commemorating the 230th anniversary of Don Giovanni.

Iván Fischer's minimalist staging of Don Giovanni makes a triumphant return to Mupa, Budapest.

Jean-François Sivadier's pulsating new production propels The Don through his lusty adventures at a whirlwind pace. 

An impressive cast, lively orchestra and a few twists in the tale made this an exciting Don Giovanni from the Staatstheater am Gärtnerplatz.

A visually stunning production with a fine cast to match. 

Dangling and turning like shards of a giant overhead chandelier in Don Giovanni’s banquet hall, this is an evocative multimedia production that tantalizes the senses while shining new light on Mozart's genius. 

Mozart's Don Giovanni is transported by director Oliver Platt to The Queen Mary in the 1930s. It looks handsome enough, but the concept is flawed.

Robert Carsen's Don Giovanni cannot burn in a hell in which he does not believe. 

Director Jo Davies' staging of Mozart’s dramma giocoso for Nederlandse Reisopera is a high-spirited  affair packed with humour, where the emphasis is decidedly more on giocoso than on the dramma.

In Richard Jones' production of Don Giovanni at Theater Basel, it was the singers alone who stole the limelight.

Oliver Mears' impressively-cast farewell production in Belfast combines gripping drama and exuberant fun in a symbol-packed reading of Don Giovanni. 

Don Giovanni is an opera which has as its title character a man who is an unrepentant womaniser, who ultimately receives his just reward in one of the most famous scenes in opera where he is consumed into the fires of hell.

A lack of inspiration and dull staging is a serious hindrance to the second of Glyndebourne's touring productions.

Richard Jones' new production is original and thought-provoking, while a commendable cast soars under the capable baton of Mark Wigglesworth.

Roddy Doyle's new translation is ingenious more often than incongruous; John Molloy's Leporello steals the show in the Opera Theatre's Don Giovanni.

Simon Keenlyside returned to the Met after absence and led a delightful cast of Don Giovanni at the Met.

Whilst the spirit of Mozart permeates the Estates Theatre in Prague, it was sadly absent in both the staging and singing of his “work of uninterrupted perfection”.  

According to director Sven-Eric Bechtolf,  Don Giovanni’s divine retribution for a life of pure evil and insatiable fornication is just more of the same.

In Ron Daniels' production of Mozart’s Don Giovanni at Santa Fe Opera, the specter of death and the possibility of judgment is always center stage. 

Ian Page assembled a fine cast, with a particularly good Leporello from David Soar for yet another superb performance of Mozart from Classical Opera.

Revel with a naughty Don Giovanni at the Komische Opera in Berlin.

The Netherlands Chamber Orchestra was in glittering form, while strong singing and acting enhanced each other in the evocative woodland of Claus Guth’s Don Giovanni.

Wonderful singing and playing liven up a slightly lifeless staging of Mozart's turbulent masterpiece. 

Erwin Schrott seduces the Budapest audience with smiles, but Zerlina steals the show in Budapest. 

A brilliant modern revisioning by Genevieve Raghu, in a superb contemporary translation by Benjamin Hamilton, makes Don Giovanni feel more relevant than ever for the Tinder generation and their disposable approach to love. 

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.