Don Giovanni

Don Giovanni could easily be W. A. Mozart's calling card. As the famous H. Abert wrote, "The essence of Don Giovanni's character is not the ability to seduce one or other woman who happens to be around at the time, even if there were "mille e tre" of them, but his uncontrollable desire for life and love, raging like a free force of nature.”

John Fulljames has directed productions at the world’s major opera houses, including La Scala in Milan, Covent Garden in London, Teatro Real in Madrid, the Liceu in Barcelona, and Théâtre du Châtelet in Paris.

John Fulljames: “Death runs like an atmosphere through Don Giovanni – most obviously the Commendatore dies, but Donna Anna contemplates taking her own life, Ottavio says he is willing to sacrifice his life to revenge her, Leporello is almost killed, Masetto is almost killed, we are fearful for Zerlina… But of course, the death which is the long-awaited and trailed climax of the opera is that of Don Giovanni himself – it becomes inevitable and even wished for by him as he chooses death, hell even, over denying who he is– as the individualistic threat of total, unrestrained liberty which he represents can only be vanquished by his death. His death is an expression of order reasserting itself. All trace of him is wiped away and society continues.“