| Mozart, Wolfgang Amadeus (1756-1791) | Don Giovanni | Livret de Lorenzo Da Ponte |
| Opéra d'État hongrois | ||
| Gergely Kesselyák | Direction | |
| Gianfranco de Bosio | Mise en scène | |
| Nanà Cecchi | Décors, Costumes | |
| Budapest Philharmonic Orchestra | ||
| Chœurs de l'Opéra d'État hongrois | ||
| Erwin Schrott | Baryton-basse | Don Giovanni |
| Klára Kolonits | Soprano | Donna Anna |
| Beatrix Fodor | Soprano | Donna Elvira |
| Miklós Sebestyén | Basse | Leporello |
| Zita Szemere | Baryton | Zerlina |
| Istvan Horvath | Ténor | Don Ottavio |
| Géza Gábor | Basse | Le Commandeur |
| Csaba Sándor | Baryton-basse | Masetto |
For more than two centuries, what is possibly Mozart's most enigmatic work has both enchanted and perplexed audiences. This masterpiece relating the tragi-comic adventures of the already mythologised seducer from Seville is actually a wide-screen "grand epic" embracing the entire world. On one level it is a sensational tale of adventure laced with humour and eroticism, but on another it plays out a contest of amazing power between body and soul, and between the human and the divine.
The great opera scholar Joseph Losey said of this riveting circle dance of lust and seduction that it is "a vitriolic satire of society, full of bitterness. But it is also the story of a man who is psychologically incapable of adapting to his own time, a personality bent on pushing boundaries and who himself provokes the fulfilment of his fate."
