Don Giovanni from the Royal Opera House


Don Giovanni from the Royal Opera House

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Giovanni is a mystery.

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One of the biggest lovers in the world.

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A man on an endless quest for immortality.

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-Don Giovanni is a horrible man. He betrays everyone.

-He's a dreamer.

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He's a dangerous man.

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Scum of the earth.

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Probably there are many Don Giovannis in the street.

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Please don't meet them. Don't even talk to them. It's better like this.

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He's fabulously, charismatically attractive.

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I want to kill him.

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Scandalously immoral.

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Adored and mourned in equal measure by audiences.

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Don Giovanni is opera's most notorious seducer.

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He's as irresistible today as he was when Mozart

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and his librettist Da Ponte got together to write

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the opera for the National Theatre in Prague in 1787.

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The show was a sensation.

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It made its way to England 30 years later

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and has been a crowd puller here and everywhere ever since.

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It's musically brilliant

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and it's a powerful reflection of the human condition.

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It's a story about a man who has seduced 2,065 women.

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But on the morning of one of his conquests

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he gets stopped by the father of this woman he just seduced

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and in the ensuing fight he kills him.

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And from then on it's all downhill.

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Donna Anna is part of the nobility and her father decided

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she should marry Don Ottavio.

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And Don Ottavio runs in and she realises that she is not able

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to say what happened.

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So she starts lying

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and she continues lying to Don Ottavio all through the piece.

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Donna Elvira is the official wife of Don Giovanni.

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He married her in Burgos a few days ago and just left her.

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So she's running after him and she's looking for him

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and she's really, really in love with him

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and she thought he was honest with her but obviously he is just a liar.

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I'm playing Zerlina, who is a peasant girl.

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And often she's portrayed as quite naive, a bit innocent

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and somebody who's seduced by the don.

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But in this production she's a bit more ambitious.

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She wants to better herself and she sees the don as maybe

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a way of doing that.

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The relationship between Leporello

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and Don Giovanni in this production is not exactly servant and boss.

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It's basically of two friends.

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Leporello is his conscience.

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Both the little devil on his shoulder

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and the little angel on his shoulder talking in his ears.

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It's, in a way, some of the inner dialogues that Don Giovanni doesn't have otherwise,

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he has them with Leporello.

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We are not meeting Don Giovanni when he tries to seduce the 30th girl.

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He is trying to seduce the 2,000 and some hundred.

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So, you know, he's the loser. It's the last time.

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He will not have any girl that day.

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Don Giovanni is the guy who gives everything to every woman.

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Everything she wants.

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And he learned it. He's an artist.

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He's seeing the women as an art.

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What we see on the walls in this production is his quick drawings.

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A few words about this and that woman

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just to remember what it was like.

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We have turned the stage into a version of Don Giovanni's mind.

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A complex, ever-changing set.

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It's almost as if we enter his mind as the girls he seduced do.

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Because we're projection mapping over the entire

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sculpture at all times, sometimes you're not sure

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if a wall is really moving or a projected door is moving.

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We have to fix where I'm coming from because I open one door

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and then I open the second door.

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I opened the second door and it was a third door.

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It's both a tragedy and a comedy, a farce that needs to move fast

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and be funny.

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We set it in Victorian times, where they're all completely buttoned up.

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They wear gloves, they show no skin.

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If Giovanni even takes the glove off one of them

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and touches her hand it would almost give her a sexual experience.

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In the early stages Zerlina is determined not to be that easy.

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I don't want to be that easy.

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He doesn't have to just take off my glove! Really? Really?

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HE SINGS IN ITALIAN

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That could be the moment to say, here I am.

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He's trying to find out what life is. Why is he getting older?

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Why this whole fantastic energy, youth.

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Craziness, passion is disappearing.

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Mozart wrote it at the end of his life. He had so many lovers.

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He tried so many parties, crazy life. And I think he was tired with that.

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And this is more or less like with Don Giovanni.

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APPLAUSE

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MUSIC: "Overture"

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APPLAUSE

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LAUGHTER

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SHE SCREAMS

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SHE LAUGHS

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AUDIENCE LAUGHS

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APPLAUSE

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APPLAUSE

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APPLAUSE

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HE KNOCKS ON DOOR

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DOOR CLOSES

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HE CLAPS

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CHEERING AND APPLAUSE

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THE SONG REPEATS

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# Leporello!

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COINS JINGLE

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# Quattro doppie

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THEY LAUGH

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HE YELLS

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LEPORELLO MOUTHS ALONG

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THE SONG REPEATS

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Shhh!

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SHE GIGGLES THEN WHISPERS

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LAUGHTER

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HE WHISPERS

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BANGING

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HE REPEATS THE VERSE

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HE REPEATS THE VERSE

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HE REPEATS THE VERSE

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OFFSTAGE:

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HE REPEATS THE LINE

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HE REPEATS THE VERSE

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HE REPEATS THE LINE

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HE GROANS

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HE GROANS

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LAUGHTER

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SHE HOLDS THE NOTE

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SHE REPEATS THE LINE

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APPLAUSE

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SHE REPEATS THE LINE

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HE REPEATS THE LINE

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SHE REPEATS THE LINE

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HE REPEATS THE LINE

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THEY REPEAT THE EXCHANGE

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HE REPEATS THE PLEA

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THE SONG REPEATS

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THE SONG REPEATS

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THE SONG REPEATS

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APPLAUSE

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HE REPEATS THE LINE

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HE REPEATS THE LINE

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HE HOLDS THE NOTE

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THE SONG REPEATS

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HE HOLDS THE NOTE

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APPLAUSE

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SHE REPEATS THE LINE

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SHE REPEATS THE LINE

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SHE REPEATS THE LINE

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THE SONG REPEATS

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APPLAUSE

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DON GIOVANNI LAUGHS

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# Eh, Leporello!

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HE CACKLES

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SHE HOLDS THE NOTE

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SHE REPEATS THE VERSE

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APPLAUSE

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HE REPEATS THE LINE

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HE HUMS A TUNE

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THEY REPEAT THE VERSE

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HE HUMS AGAIN

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HE CRIES

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# Leporello!

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THEY REPEAT THE VERSE

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DONNA ELVIRA SINGS

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THEY REPEAT THE VERSE

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THE SONG REPEATS

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SCREAMING

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# Don Giovanni!

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THE SONG REPEATS

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COMMENDATORE REPEATS THE CRY

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Eccola!

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THE SONG REPEATS

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THE SONG REPEATS

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HE YELLS

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CHORUS:

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THE CHORUS CONTINUES

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THE CHORUS CONTINUES

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APPLAUSE

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CHEERING

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CHEERING

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CHEERING

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CHEERING

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CHEERING

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APPLAUSE CONTINUES

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CHEERING

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CHEERING

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CHEERING

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APPLAUSE CONTINUES

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CHEERING AND WHISTLING

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CHEERS DROWN SPEECH

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CHEERING

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CHEERING

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