JAN 30

FEB 2,6,9,13,16,20

APR 4,9,12,15,18


Cornelius Meister, conductor

DONNA ANNA: Rachel Willis-Sørensen (JAN 30, FEB 2,6,9,13,16) / Jennifer Check (FEB 20) / Guanqun Yu (APR 4,9,12,15,18)

DONNA ELVIRA: Federica Lombardi (JAN 30, FEB 2,6,9,13,16,20) / Susanna Phillips (APR 4,9,12,15,18)

ZERLINA: Aida Garifullina (JAN 30, FEB 2,6,9,13,16) / Rihab Chaieb (FEB 20) / Serena Malfi (APR 4,9,12,15,18)

DON OTTAVIO: Stanislas de Barbeyrac (JAN 30, FEB 2,6,9,13,16,20) / Pavol Breslik (APR 4,9,12) / Paul Appleby (APR 15,18)

DON GIOVANNI: Luca Pisaroni (JAN 30, FEB 2,6,9,13,16,20) / Peter Mattei (APR 4,9,12,15,18)

LEPORELLO: Ildar Abdrazakov (JAN 30, FEB 2,6,9,13,16,20) / Adam Plachetka (APR 4,9,12,15,18)

MASETTO: Brandon Cedel (JAN 30, FEB 2,6,9,13,16) / Peixin Chen (FEB 20) / Kihwan Sim (APR 4,9,12,15,18)

THE COMMENDATORE: Štefan Kocán (JAN 30, FEB 2,6,9,13,16,20) / Dmitry Belosselskiy (APR 4,9,12,15,18)

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Metropolitan Opera House LeftABOUT THE OPERA

Composer: Wolfgang Amadeus Mozart – Librettist: Lorenzo Da Ponte

First perfomance: Prague, National Theatre (now Estate Theatre), 29 October 1787

Considered Mozart’s masterpiece, the dramma giocoso Don Giovanni was commissioned by the director of the National Theatre in Prague after the success of Le nozze di Figaro, which was extremely popular in the Czech city. Based on the story of Don Juan (which inspired also Molière), the opera centres on Don Giovanni’s dissolute living and crimes, ended only with the help of a supernatural force (the Commendatore he killed at the beginning). With its extremely coherent libretto and the profound depth of its music, Don Giovanni is not only an extremely enjoyable opera, but it is also a journey through the innermost parts of the human soul, with its baseness as well as its passionate élans.