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PROGRAMME DETAIL

Wolfgang A. Mozart • Don Giovanni

Dramma giocoso in two acts, K. 527
Libretto by Lorenzo Da Ponte

New production
In Italian, with German and English surtitles

Duration of the performance: approx. 3,5 hours

PREMIERE

  • 27 July 2008, 19:00

DATE

  • 31 July 2008, 19:00
  • 03 August 2008, 19:00
  • 08 August 2008, 19:00
  • 11 August 2008, 19:00
  • 16 August 2008, 19:00
  • 19 August 2008, 15:00
  • 25 August 2008, 15:00
  • 29 August 2008, 19:00

Print programme (PDF)

LEADING TEAM

Bertrand de Billy, Conductor
Claus Guth, Director
Christian Schmidt, Set and Costume Design
Olaf Winter, Lighting
Ronny Dietrich, Dramaturgy
Ramses Sigl, Choreography
Thomas Lang, Chorus master

CAST

Christopher Maltman, Don Giovanni
Anatoly Kocherga, Il Commendatore
Annette Dasch, Donna Anna, betrothed to Don Ottavio
Svetlana Doneva (16.08, 19.08), Donna Anna, betrothed to Don Ottavio
Matthew Polenzani, Don Ottavio
Pavol Breslik (19.08, 25.08, 29.08), Don Ottavio
Dorothea Röschmann, Donna Elvira
Erwin Schrott, Leporello, Don Giovanni's servant
Ekaterina Siurina, Zerlina
Alex Esposito, Masetto
Vienna Philharmonic
Concert Association of the Vienna State Opera Chorus

ABOUT THE PRODUCTION

In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences' delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure, an idea that later poets and thinkers elaborated further. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart's Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span?
Ronny Dietrich



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