Charleston Opera Theater / Umsagnir

And in the end, Mozart’s famously flawed leading man gets his indeed, via a deftly retrofitted reframing of a story that scoffs at any excuses for his poor moral choices. There is still space for mirth, as his victims haunt him in life and in death. It all demonstrates that, with a little coaxing, we can make sport while utterly condemning bad male behavior, contemporized for the times and moved to Mexico, no less. Yes, opera fans. We can have our Mozart cake and eat it, too.