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  • Between   and 

Monika Rittershaus

Opera

New

Don Giovanni

Wolfgang Amadeus Mozart

Opéra Bastille

from 13 September to 12 October 2023

3h20 with 1 interval

Synopsis

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The Paris Opera opens its 23/24 season with a new production of Don Giovanni. If Mozart's masterpiece has fascinated generations since its Prague premiere in 1787, it is not only because his score achieves an unparalleled convergence of comedy and drama, but also because its expressive force deepens tenfold the myth of Don Giovanni, the philanderer who defies God and society. Responsive to the score's immediacy, Claus Guth imagines that Don Giovanni has been shot during his duel with the Commendatore. From then on, the libertine devotes his last hours to savouring life, whilst his faithful Leporello, an accomplice rather than a servant, seeks to soothe his pain. Disrupting the timeline, Claus Guth offers a new vision of the characters. Like a wounded beast, Don Giovanni satisfies his predatory instincts in a sensual, nocturnal pine forest, a hunting ground or an Eden forfeited for his sins.

Duration : 3h20 with 1 interval

Language : Italian

Surtitle : French / English

  • Opening

  • First part 90 min

  • Intermission 30 min

  • Second part 80 min

  • End

Show acts and characters

CHARACTERS

Don Giovanni: Libertine gentleman
Leporello: Don Giovanni’s servant

Donna Anna: Aristocrat whom Don Giovanni tries to rape by breaking into her room
Donna Elvira: Aristocrat, abandonedby Don Giovanni
Zerlina: Young peasant girl whom Don Giovanni tries to seduce on her wedding day
Don Ottavio: Donna Anna’s fiancé
Masetto: Peasant, Zerlina’s fiancé
The Commendatore: Donna Anna’s father, killed in a duel by Don Giovanni

Act 1:
Leporello is tired of waiting for Don Giovanni, who is busy pursuing an amorous adventure. Just as he is about to leave, there is trouble. Donna Anna and Don Giovanni quarrel; suddenly, Anna’s father, the Commendatore, appears, intent on defending his daughter’s honor. Anna realizes the danger her father is in and hastens off to call for help.

The Commendatore and Don Giovanni fight. Leporello helps Don Giovanni to escape. When Anna returns with her fiancé, Don Ottavio, they find her father lying in a pool of blood. Anna tries to comprehend what has happened and demands that Ottavio avenge her father.

Leporello accuses Don Giovanni of having acted irresponsibly. Angry at these accusations, Don Giovanni is already thinking of his next conquest. When a female voice is heard complaining angrily about her husband’s infidelity, Don Giovanni is immediately willing to console the unhappy woman. He only realizes at the last moment that the unknown woman is Donna Elvira, whom he once married and then abandoned. At first, he attempts to calm her down, but then leaves it to Leporello to enlighten her about his love life. Elvira stays behind, heartbroken, but then decides to avenge the insult she has suffered.

Don Giovanni and Leporello encounter a wedding party. The young bride Zerlina awakens Don Giovanni’s interest. He orders Leporello to remove her bridegroom Masetto and the other guests, so that he can be alone with her. Furious, Masetto has to witness how his bride follows Don Giovanni. Don Giovanni has no problems dispelling Zerlina’s scruples regarding Masetto when he promises to marry her; she cannot resist his seductive manner. Before Don Giovanni gets what he wants, however, Elvira discovers the pair and unsettles Zerlina with her accusations about Don Giovanni to such an extent that she flees.

While he is still annoyed about the failure of his plans, Don Giovanni meets Anna and Ottavio, who appeal to his friendship for help. Since he does not know whether Ottavio knows about his night-time encounter with Anna, he promises to support them.

Again, Elvira appears and causes confusion by accusing Don Giovanni of infidelity. Ottavio does not know what to make of these accusations. Anna understands the desperation of the woman she does not know, who Don Giovanni simply declares to be mad. When Don Giovanni has left with her, Anna’s confession comes pouring out: she accuses Don Giovanni not only of attempted rape, but also of her father’s murder. Trying to calm his bride down, Ottavio decides to find out the truth.
Leporello reports to Don Giovanni what has happened in the meantime. He has had a very hard time keeping first Zerlina, then Elvira from ruining the festive atmosphere through their appearances. Untouched, Don Giovanni demands that he keeps on entertaining the wedding party, possibly inviting even more girls. His desire to amuse himself is boundless.

Zerlina, who has returned to Masetto, tries to deflect his accusations of having betrayed him even on their wedding day. No sooner has he relented and is willing to be reconciled than they hear Don Giovanni’s voice. Zerlina’s fearful reaction sparks Masetto’s jealousy anew. Despite her pleas not to leave her alone, Masetto hides in order to find out the truth about his bride and Don Giovanni. Before there can be another love-scene, his jealousy wins out and he interrupts them. Don Giovanni plays down the situation and pretends that he only wanted to celebrate their wedding with them in style.

Ottavio, accompanied by Anna and Elvira, wants to find out whether Don Giovanni has really committed the crimes the women accuse him of. They mingle with the guests who are being entertained by Leporello, so that Don Giovanni may have another opportunity to take Zerlina away from her bride-groom – this time by force. Her loud cries for help put the assembled company on their trail. Shocked, they witness what happens. Don Giovanni tries to make Leporello his scapegoat. Nobody believes him anymore. Cornered, Don Giovanni flees his opponents.

Act 2:
Resolved to abandon Don Giovanni once and for all, Leporello ultimately does not have the heart to leave him to his fate. Don Giovanni has only scorn for Leporello’s plea that he at least stays away from women from now on. When Elvira appears once more, he charms her, but then forces Leporello to change clothes with him and take his place. Elvira falls for the ruse and follows Leporello, assuming that she has won her husband back.

Don Giovanni, finally rid of Elvira, dreams of new amorous delights when he is interrupted by Masetto, who is looking for Don Giovanni in order to take revenge. Don Giovanni pretends to be Leporello. By promising that he will help in the hunt for Don Giovanni, he manages to disarm Masetto. After he has beaten him up, Zerlina finds the wounded Masetto.

Elvira, who still believes that she is in the company of her husband, is enjoying their reconciliation; Leporello tries to escape the situation, but Anna, Ottavio, Masetto and Zerlina – who are still searching for Don Giovanni – prevent this. Believing that they have finally found Don Giovanni, they want revenge. Elvira pleads for mercy for her husband. At that point, Leporello reveals that he was disguised and admits that Don Giovanni forced him to change clothes with him. The pursuers, whose confusion Leporello uses to escape, realize that they have been duped once again. Ottavio has now dispelled even his last doubts about Don Giovanni’s crimes, and he decides to ensure his punishment.

Despite the betrayal she has suffered, Donna Elvira is worried about Don Giovanni – she senses that his end is near. Don Giovanni takes pleasure in telling Leporello how he met a woman who mistook him for Leporello. At that point, they hear a voice threatening to end Don Giovanni’s life. Don Giovanni suspects a prank and tries to make out where the voice is coming from.

Leporello is convinced that it can only be the Commendatore, come to bring Don Giovanni to justice. If that was the case, Don Giovanni demands, Leporello should invite him for dinner. When he refuses, Don Giovanni issues the invitation himself. The voice accepts.

Ottavio promises Anna that Don Giovanni’s punishment is imminent, and presses her to marry him. Anna is evasive. Don Giovanni, expecting his end, has Leporello serve him an opulent meal. Once more, Elvira forces her way into his presence. Fearing for his life, she begs him to change his ways – in vain. He is willing to bear the consequences and accepts his death.

Artists

Dramma Giocoso in two acts (1787)


Creative team

Cast

The Paris Opera Orchestra and Chorus
A production by the Staatsoper Unter den Linden, Berlin, in partnership with the Salzburger Festpiele

Media

[TRAILER] DON GIOVANNI by Mozart
[TRAILER] DON GIOVANNI by Mozart
  • Beyond social conventions

    Beyond social conventions

    Read the article

  • Donna Elvira: a passionate and worthy heroine

    Donna Elvira: a passionate and worthy heroine

    Watch the video

  • [DEBRIEF] Your impressions of Mozart's DON GIOVANNI

    [DEBRIEF] Your impressions of Mozart's DON GIOVANNI

    Watch the video

© Monika Rittershaus

Beyond social conventions

Read the article

06 min

Beyond social conventions

By Ronny Dietrich

The character of Don Juan first appeared on stage in 1613, in the religious drama "El Burlador de Sevilla y Convidado de Piedra" ("The Seducer of Seville and the Stone Guest") by Tirso de Molina, the pseudonym of the monk Gabriel Téllez. An exceptional literary character, Don Juan has been a constant source of inspiration for writers, musicians, philosophers and researchers for almost 400 years.

There are various theories as to the character's origin: for some, it is a myth born of the Spanish popular imagination, combining two unrelated subjects: the amorous adventures of a young daredevil and the punishment of a criminal by the appearance of a statue. Other sources refer to a person living at the time of Don Pedro the Cruel: a certain Don Juan Tenorio de Sevilla, a philanderer and a pleasure-seeker, who murdered the governor of Seville, was lured to a monastery and then secretly executed by monks, who then spread the rumour that the murderer would be punished by the funerary statue of the victim, which had come to life. From Spain to Italy, the subject was adapted for comedy, focusing on the spectacular appearance of the statue and the jokes of Don Juan's servant. The next stage followed in France, where the title role was given a new lease of life: in "Dom Juan ou le Festin de pierre" (1665), Molière endowed him with new characteristics. His main character was no longer a seducer driven by his impulses, but a libertine who defied all boundaries (including class), an atheist who, not content with blaspheming, went on to deny God. The 17th century saw the birth of numerous literary works and, from 1713 onwards, a host of musical adaptations, creating a veritable fashion around the 1780s, especially in Italy. Among the precursors of Mozart / Da Ponte are Vincenzo Righini's "Dramma tragicomico", first performed in Prague in 1776, and above all Giuseppe Gazzaniga's musical adaptation, first performed in Venice in 1787, which contains many of the same elements that Lorenzo da Ponte would use in his libretto. While using the main pre-existing themes, da Ponte created a libretto for an opera in its own right, whose inherent ambiguity raises more questions than it answers.

Don Giovanni, a character long condemned to a descent into hell in order to satisfy the public, was to take on a new dimension in Mozart's "Don Giovanni". The eternally punished villain would become a sympathetic figure, a notion later pursued by other poets and thinkers. But Mozart would certainly not be Mozart if he had not managed to discover, even in this being, the divine spark. So let us ask the question: is Mozart's "Don Giovanni" the expression of a myth or, as Søren Kierkegaard puts it, of a primitive force like Eros or Dionysus - or is he purely and simply a human being aware of the finitude of his existence and seeking to make the most of his life?

It is this latter dimension that Claus Guth's production sets out to examine, exploring the degree to which it is real, thus extending the work already done on Mozart's "Le nozze di Figaro". For it seems that in these two works, as in "Così fan tutte", Mozart wanted to draw our attention to the state of human relationships while suggesting concepts that went beyond the social conventions of his time and, ultimately, of our own. In "Don Giovanni", Mozart pushes to the extreme the possibilities already demonstrated in "Figaro" of a form of life that entrusts itself entirely to Eros, at the end of which, by the same token, Thanatos will also assert his rights. It is the acceptance of the coexistence of these two poles of life that is transmitted from "Giovanni" to those around him, that constitutes his power of seduction, and makes others aware of their own inadequacies.

It is quite feasible to consider that this opera, in terms of its duration, takes place in real time. The few precise indications on this subject allow us to assume a time interval ranging from 11.30pm to 2.15am; this observation is admittedly marginal considering the range of interpretative angles proposed by Mozart and Da Ponte in each of their operas, but it could also be an interesting avenue. After the "crazy day" of "The Marriage of Figaro", the time available seems to have shrunk even further - just like Mozart's time?

In this context, let us mention the remarkable research work carried out by Elisabeth Kübler-Ross who, in her book "The Last Moments of Life", describes five phases of mourning that anyone facing imminent death must go through:

1. Denial and isolation,
2. Anger,
3. Bargaining,
4. Depression and
5. Acceptance.

These phases, "defence mechanisms" in the psychiatric sense of the term, are used to cope with situations of extreme difficulty. Occurring over periods of varying length, they may take place one after the other or occur simultaneously. Each of these phases almost always contains an element of hope. (Elisabeth Kübler-Ross)

The extreme situations created by Don Giovanni throughout the opera all correspond to these phases. However, analysing the last of these phases - in which the dying man must necessarily separate himself from everything and everyone, risking the most profound offences in order to find his peace - once again arouses amazement at Mozart's extraordinary insight into the human psyche. This is what led us to choose for this production the version without the final sextet, approved by Mozart himself and, incidentally, preferred by Gustav Mahler.

Ronny Dietrich

Donna Elvira: a passionate and worthy heroine

Watch the video

Interview with Gaëlle Arquez

01 min

Donna Elvira: a passionate and worthy heroine

By Isabelle Stibbe

Mezzo-soprano Gaëlle Arquez sings Donna Elvira for the first time in Claus Guth's new production of Don Giovanni. This role of a woman in love and wounded requires maturity and resilience to express the full range of emotions so subtly portrayed by Mozart.  

© Bernd Uhlig / OnP

[DEBRIEF] Your impressions of Mozart's DON GIOVANNI

Watch the video

1:26 min

[DEBRIEF] Your impressions of Mozart's DON GIOVANNI

By Octave

  • [EXTRAIT] DON GIOVANNI by Mozart (Peter Mattei & Ying Fang - "Là ci darem la mano")
  • [TRAILER] DON GIOVANNI de Mozart
  • [EXTRAIT] DON GIOVANNI by Mozart
  • [EXTRAIT] DON GIOVANNI by Mozart (Gaëlle Arquez - "Ah, chi mi dice mai")
  • [EXTRAIT] DON GIOVANNI by Mozart (Ben Bliss - "Il mio tesoro")
  • Dessine-moi Don Giovanni | 1 minute pour comprendre l'intrigue
  • Don Giovanni (saison 23/24) - Acte 2 - Pieta Pieta

  • Don Giovanni (saison 23/24) - Acte 2 - Il Mio Tesoro Intanto

  • Don Giovanni (saison 23/24) - Acte 1

  • Don Giovanni (saison 23/24) - Acte 1 - Ah Chi Mi Dice Mai

Press

  • Peter Mattei is undoubtedly one of the best Don Giovanni of our time, a role he has sung on major international stages.

    Le Monde / 2023
  • A great show complemented by a superb vocal cast.

    L'Humanité / 2023
  • Mozart succeeds once again in captivating us through a succession of heart-wrenching arias.

    Artistikrezo / 2023
  • Le baryton suédois Peter Mattei est impressionnant de justesse et de présence.

    Franceinfo / 2023
  • An outstanding cast in a sumptuous production directed by Claus Guth.

    Toutelaculture.com / 2023

Access and services

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot

Imagined as benchmark, richly illustrated booklets, the programmes can be bought online, at the box offices, in our shops, and in the theatres hall on the evening of the performance.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Boutiques

    A selection of works items are available on our various boutiques: Online store and The Opéra Bastille Shop.

    LEARN MORE.

  • Last-minute tickets

    Special reduced rates for people under the age of 28, unemployed and seniors over 65 are available. 

    LEARN MORE.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot

Imagined as benchmark, richly illustrated booklets, the programmes can be bought online, at the box offices, in our shops, and in the theatres hall on the evening of the performance.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Boutiques

    A selection of works items are available on our various boutiques: Online store and The Opéra Bastille Shop.

    LEARN MORE.

  • Last-minute tickets

    Special reduced rates for people under the age of 28, unemployed and seniors over 65 are available. 

    LEARN MORE.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

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2 min

Don Giovanni

Maestro get ready to play: Don Giovanni

Maestro get ready to play: Don Giovanni

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