Admin

Organization

Singer

Baritone

Christian Helmer

Don Giovanni

Bass

Pietro Di Bianco

Leporello

Soprano

Diana Higbee

Donna Anna

Tenor

Sébastien Droy

Don Ottavio

Irène Candelier

Donna Elvira

Yu Ree Jang

Zerlina

Yuri Kissin

Masetto

Patrick Bolleire

Commendatore

Conductor

Pierre-Michel Durand

Stage director

Jean-François Vinciguerra

Anthéa

Orchestra

Nice Philharmonic Orchestra

the opera of operas

Austria

fr.Antibes.Anthéa.Salle Jacques Audiberti

Public

Approved

the opera of operas: Don Giovanni Mozart

the story
Seville in the 17th century. Don Giovanni is a young nobleman who, much to his father's despair, spends his time enjoying life. Very great seducer, fine manipulator, helped in spite of himself by his poor valet Leporello, Don Giovanni lures women into his bed by promising them marriage before abandoning them completely the next day. After many adventures, he finds himself chased by the husbands, fiancés, brothers and fathers of those he has seduced and takes refuge in a cemetery with his valet to hide from the pursuers. He finds himself facing the statue of the tomb of a father he killed in a duel: The Statue of the Commander. The Statue comes to life and asks him to repent and stop doing harm or he will end up in hell. Don Giovanni refuses...

What they say
"Don Giovanni is the opera of operas"! said Richard Wagner who was however not tender with his colleagues. In this race to the abyss where no one is innocent, nor spared and where pleasure prevails over love, Da Ponte, the libertine abbot, offers us a booklet all in trompe l'oeil and full of traps . So let's take a closer look at these characters who fuss around in vain around the one who is playing with them! [...] As a result, it is indeed the opera of operas in question, signed by the first "musician" to have sublimely set to music and placed above all, La Liberta! Eve Ruggieri

Don Giovanni... this illustrious character evokes more the man of a thousand three conquests with virile ardor than the quest for meaning, the emptiness and the vanity of existence. However, in his wandering, in the middle of these trunks, he is faced with his fears, his anxieties, his headlong rush. Aren't these trunks the delights of an ultimate journey, where masks and disguises are a perverse pleasure, which - in a nightmare - are metamorphosed into a frantic carriage, a disturbing coffin, the last banquet of a condemned to his own madness? The characters who come across this decline are all double, their masks will only fall off at the end, each returning to their destiny with their own trunk filled with responsibilities, things left unsaid, social codes, taboos, pretenses. Only the factotum Leporello, actor and voyeur of his Master's escapades, accompanying him to the end in his drift, will he end up following the same destiny, the duende of Don Giovanni sleeping in him? Two faces for a single mask. Jean-Francois Vinciguerra

English

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