Don Giovanni

Tickets

By Wolfgang Amadeus Mozart

San Diego Civic Theatre
1100 Third Avenue
San Diego, CA 92101

Friday, February 2, 2024 at 7:30 pm

Sunday, February 4, 2024 at 2:00 pm

Considered to be a perfect opera, this a tale of seduction and doom features stunning visuals and the orchestra onstage heightening Mozart’s glorious music.

Mozart’s Don Giovanni features some of the greatest operatic music ever written. This special version showcases Mozart’s incredible score by placing the singers, chorus, and San Diego Symphony front and center. The singers and chorus will be fully staged and costumed, accompanied by state-of-the-art theater lighting and projections, for a complete and stunning visual and auditory experience. San Diego Opera’s Principal Conductor Yves Abel returns to lead the action, which features the exciting house debut of baritone Germán Enrique Alcántara in the title role.

LANGUAGE – Sung in Italian with English and Spanish text projected above the stage

RUN TIME – 3 hours and 30 minutes, including one intermission

Pre-Opera Talk

The pre-opera talk begins at 6:40 pm before the 7:30 pm Friday evening performance. The Sunday matinee pre-opera talk begins at 1:10 pm before the 2:00 pm curtain.

Mainstage Post-Opera Talk-Back

Stay after the performance for a Talk-Back. Once the curtain falls, there will be a 10-minute break, then join us in the front of the Dress Circle section where you can ask questions of the stars and cast (subject to availability), and find out what really happened onstage and backstage during the performance!

Germán Enrique Alcántara
Don Giovanni

Alex McKissick Tenor 2 by Arielle Doneson 470x470

Alexander McKissick
Don Ottavio

Alexander McKissick

Don Ottavio

San Diego Opera debut. Tenor Alexander McKissick started off the 2023 season with an acclaimed role debut as Don Ottavio in North Carolina Opera’s production of Mozart’s Don Giovanni. He can frequently be seen on tour with world famous trumpeter Chris Botti throughout the USA performing favorite selections of Sartori and Puccini. Alex made his company debut with The Cleveland Orchestra as Joe in Puccini’s La fanciulla del West under the baton of Maestro Franz Welser-Möst. Highlights of his 2022 season include the world premiere of two Georgia Shreve oratorios, Lavinia and Anne Komnene, at Alice Tully Hall under the baton of Steven Mercurio; a performance with Camerata Notturna of Beethoven Symphony #9 alongside soloists Siphokazi Molteni, and Matthew Rose; as well as several aria-filled galas with Berkshire Opera Festival, and Chamber Orchestra of the Triangle. Other notable performances include the title role in Roméo et Juliette with the Wolf Trap Opera, appearances at Washington National Opera in such roles as Nikolaus Sprink in Kevin Puts’s Silent Night, Roderigo in Otello, The Governor of Montevideo in Candide, the 1st Armored Guard in The Magic Flute, Alfredo in La traviata at the Aspen Music Festival; concerts with the Georg Solti Accademia in Venice, Italy; the tenor soloist in Handel’s Messiah with the Richmond Symphony and Beethoven’s Symphony #9 with the Charleston Symphony Orchestra; Monostatos in The Magic Flute, Le Journaliste in Poulenc’s Les mamelles de Tirésias, Ein Soldat in Ullman’s Der Kaiser von Atlantis, and Brack Weaver in Kurt Weill’s Down in the Valley at the Juilliard School of Music. He has worked with conductors Eun Sun Kim, Daniele Callegari, Keri-Lynn Wilson, Nicole Paiement, as well as stage directors David Alden, Francesca Zambello, Tomer Zvulun, Octavio Cardenas, Christopher Mattaliano, and Garnett Bruce. He has coached with Richard Bonynge, Carmen Giannattasio, Angela Gheorghiu, and Anthony Legge, in addition to participating in master classes with Fabio Luisi and Emmanuel Villuame. He is a highly sought-after recitalist in the Washington, D.C. metro area where he has appeared at the Renwick Gallery, Dumbarton Oaks, the Cosmos Club, the Metropolitan Club, the United States Supreme Court, and a number of private concerts at various embassies and residences of important officials. His recording of Bernstein’s Songfest, released on the Naxos label, was under consideration for a Grammy Award. He is a 2018 Sullivan Foundation Career Grant Winner, a 2017 Sara Tucker Study Grant Winner, a 2018 Operalia quarterfinalist, and a Toulmin Scholar. He received his Bachelors of Music and Master’s Degree from the Juilliard School of Music and is an alumnus of the Cafritz Young Artist Program at the Washington National Opera.

Ethan Vincent
Leporello

Ethan Vincent

Leporello

San Diego Opera debut. American baritone Ethan Vincent recent appearances includes the soloist in Orff’s Carmina Burana for the Columbus Symphony Orchestra, several company debuts including the Boston Youth Symphony Orchestra singing Méphistophélès in Berlioz’s La damnation de Faust, Opera Naples for the role of Escamillo in Carmen, Opera Philadelphia for a series of performances including Carmina Burana and Margaret Bonds’ Credo, as well as an Emerging Artist recital for the company, Schaunard in La bohème with the Berkshire Opera Festival and Marcello in La bohème with Sacramento Philharmonic & Opera. Mr. Vincent returned to the Los Angeles Philharmonic for Clarence in Girls of the Golden West. Notable appearance include Riolobo in Florencia en el Amazonas at Lyric Opera of Chicago, Don Fernando in Fidelio with the Los Angeles Philharmonic, Marcello with the Columbus Symphony; Schaunard with Cincinnati Opera, and Billy Bigelow in Carousel with Indianapolis Opera. In concert, he has appeared with the Cincinnati Symphony Orchestra performing El Niño by John Adams with the composer on the podium, Milwaukee Symphony Orchestra in Handel’s Messiah, and two Rachmaninoff engagements at Bard SummerScape: baritone soloist in The Bells and portraying Duke in The Miserly Knight. Other notable appearances include the role of Captain in Eugene Onegin in a house debut at the Santa Fe Opera, his company debut as Marcello at the National Performing Arts Center, Taiwan, Jauno in West Side Story with the Philadelphia Orchestra, Joseph De Rocher in the Chicago premiere of Dead Man Walking, Belcore in The Elixir of Love at Indianapolis Opera, the role of Behike in the North American premiere of Hatuey: A Memory of Fire in collaboration with the Peak Performance series; and made his debut as Germont in La Traviata with Martha Cardona Opera at Merkin Hall in New York. As a Resident Artist at Philadelphia’s Academy of Vocal Arts, he performed numerous title roles including: Rigoletto, Don Giovanni, Rubenstein’s The Demon, and Gianni Schicchi, as well as Count di Luna in Il Trovatore, Albert in Werther, Guglielmo Wulf in Le Villi, Alberich in Das Rheingold, and Guglielmo in Cosi fan tutte. In addition to his operatic credits, Mr. Vincent can be seen in the featured role of César in the acclaimed film Bel Canto alongside Academy Award winner Julianne Moore and Oscar nominee Ken Watanabe. He has garnered several awards including the Éva Marton International Singing Competition (Grand Finalist – 2021); Metropolitan Opera National Council Auditions (Semi-Finalist – 2021, 2018); Loren L. Zachary National Vocal Competition (Founder’s Award – 2021); The Young Patroness of the Opera Competition (1st Prize – 2019); Nicola Martinucci International Competition (2nd Prize Winner – 2019); Vero Beach Rising Stars Competition (1st Prize & & Sergio Franchi Award Winner-2019), The Gerda Lissner Foundation (YAVI Award 2019), and The Paris Opera Competition (3rd prize and Audience Choice Award).

Tasha Koontz
Donna Anna

Megan Moore
Donna Elvira

Megan Moore

Donna Elvira

Mezzo-soprano Megan Moore made her Company debut as La Zelatrice / La Ciesca in 2023’s Puccini Duo of Suor Angelica and Gianni Schicchi. Recent appearances include a return to the Metropolitan Opera to cover the role of Blanche de la Force in Poulenc’s Dialogues des Carmélites, Plácido Domingo’s Operalia competition taking place in Riga, Latvia, debuts with the Seattle Symphony singing the roles of Little Prince and Princess Miaoyin in performances of Tan Dun’s Buddha Passion, with additional performances at Teatro Comunale (Modena, Italy) and Emirates Palace (Abu Dhabi, UAE), the title role in Gluck’s Orfeo with Orchestra of the Triangle, Sheila in a workshop of The Righteous for Santa Fe Opera, and Dorabella in Così fan tutte for her company debut at Opera Theatre of Saint Louis. She made recital appearances in Baltimore and New York City, in addition to a tour of several cities in Iowa.Concert engagements include appearances at Carnegie Hall’s Zankel Hall for Bach’s cantata Schau, lieber Gott, wie meine Feind, and the Gaillard Center in December for the Charleston Symphony’s annual Holiday Pops! concert. She joined Harry Bicket to record Handel’s La Lucretia and Il delirio amoroso with The English Concert, made her Metropolitan Opera debut in Hamlet, made her role debut as Donna Elvira in Don Giovanni at the Berkshire Opera Festival, premiered a piece by Jessica Meyer at Shriver Hall with violist Jordan Bak, performed the role of Claire in Bernstein’s On the Town with Opera Naples, joined the Santa Fe Opera to workshop The Righteous, a new work composed by Gregory Spears with libretto by Tracy K. Smith which will debut in the company’s 2024 season. In recital, she took the stage in New York, Washington, D.C, and Birmingham. She made a special appearance with the Borromeo String Quartet to sing Handel arias from Hercules and Alcina in Carnegie Hall’s Zankel Hall. She made her Santa Fe Opera debut creating the role of Ino in the world premiere of The Lord of Cries. Additional highlights also include the role of Medea in Handel’s Teseo, and appeared in Carnegie Hall’s SongStudio with Renée Fleming in partnership with her frequent collaborator, pianist Francesco Barfoed. Additional opera roles include Costanza in Haydn’s L’isola disabitata with Opera Naples, Doraballa in Così fan tutte, Nicklausse in a new production of The Tales of Hoffmann at the Miami Music Festival, and Arsamene in a historically-staged production of Handel’s Serse with Haymarket Opera Company. Other favorite operatic roles of Ms. Moore include the title role in Massenet’s Cendrillon, Angelina in Cinderella, Blanche de la Force in Dialogues des Carmélites, and Rosina in The Barber of Seville.

Yves Abel
Conductor

Yves Abel

Conductor

Maestro Yves Abel is San Diego Opera’s Principal Conductor. He made his Company debut in 2013 for performances of The Daughter of the Regiment. He returned in 2014 for Pagliacci, in 2016 for Madama Butterfly, in 2019 for Carmen, in 2022 for Roméo et Juliette, and last season conducted the Puccini Duo of Suor Angelica and Gianni Schicchi. He is the Chief Conductor designate of the NordwestDeutsche Philarmonie, Germany. A frequent guest with the world’s great opera companies, Yves Abel has conducted performances at the Royal Opera House, Covent Garden; La Scala, Milan; the Metropolitan Opera, New York; Lyric Opera of Chicago; San Francisco Opera; Seattle Opera; Glyndebourne Festival; Bayerische Staatsoper; Opéra National de Paris; Netherlands Opera; Grand Théatre de Génève; Teatro San Carlo, Naples; Teatro Communale Bologna; New National Theatre, Tokyo; Welsh National Opera and Opera North. He has conducted new productions in Liceo (The Pearl Fishers), Munich (I Capuleti e i Montecchi), Geneva (Les Vêpres Siciliennes), Barcelona (Madama Butterfly), Bilbao (Norma), Toulouse (Lalo’s Le Roi d’Ys and The Tales of Hoffmann), Lisbon (Il Turco in Italia), Naples (Gounod’s Faust), Dallas (Ermione), Seattle (Il trovatore and Heggie’s The End of Affair), Monte Carlo Opera (Il Turco in Italia) and Santa Fe (Così fan tutte), and at the festivals of Pesaro, Caramoor, the Menuhin festival in Gstaad, and the Spoleto festival in Charleston and Spoleto, Italy. As Principal Guest Conductor of the Deutsche Oper, Berlin from 2005 to 2011, he conducted new productions of Don Pasquale, Simon Boccanegra, d’Albert’s Tiefland, and Carmen, as well as performances of The Marriage of Figaro, La traviata, Dialogues des Carmélites, La bohème and Carmina Burana. He is a frequent guest at the Vienna Staatsoper where his repertoire includes The Daughter of the Regiment, The Elixir of Love, Carmen, Madama Butterfly, Simon Boccanegra, A Masked Ball, and L’italiana in Algeri. In concerts he has performed with the Copenhagen Philharmonic Orchestra at the Tivoli Festival, the RTE National Symphony Orchestra, Dublin, the Rotterdam Philharmonic, the Orchèstre du Capitole de Toulouse, the Stavanger Symphony Orchestra, and the Filarmonica Arturo Toscanini in Parma. He has also conducted the Toronto Symphony, Montreal Symphony, Netherlands Philharmonic, San Francisco Symphony, Orchèstre National de Lyon, Orchestra of St. Luke’s New York, the Royal Liverpool, the Haydn Orchestra in Bolzano and the orchestras of Genoa, Naples, and Palermo among others. A Franco-Canadian, he has a particular affinity with the French repertoire and has won significant critical acclaim for his achievements as founder and Music Director of L’Opéra Francais de New York, with whom he has regenerated rare French operas and also performed the world premiere of Dusapin’s To be Sung. Since 1994, the company has performed regularly to capacity audiences at the Lincoln Center. He conducts at various festivals around the world including the Rossini Opera Festival in Pesaro and the Glyndebourne festival, among others. His recordings include Thaïs with Renée Fleming and Werther with Andrea Bocelli (Decca), Madama Butterfly with the Philharmonia Orchestra (Chandos), and two discs of French arias, one with Susan Graham and the City of Birmingham Symphony Orchestra (Erato) and the other with Patricia Petibon and the Orchestra of the Opera National de Lyon (Decca). His most recent recording, ‘Romantique’, is a disc of romantic arias with Elīna Garanča on Deutsche Grammophon. In 2009 he was awarded the title Chevalier de l’Ordre des Arts et des Lettres by the French Government.

Kyle Lang
Stage Director

Synopsis in English

Act I
In a courtyard of the Commendatore’s palace in Seville, Leporello, Don Giovanni’s servant, complains that his life is drudgery; while his master is indoors with a woman, he must keep watch in the dark. Don Giovanni enters, pursued by Donna Anna, who is determined to learn the identity of her would-be violator. Anna runs inside when her father, the Commendatore, arrives to challenge her assailant. Giovanni kills the old man in a duel, and escapes with Leporello. Anna returns with her fiancé, Don Ottavio, lamenting her father’s death. Ottavio comforts her, and they vow revenge.

On a Seville street at dawn, Leporello criticizes his master’s immoral way of life. Don Giovanni angrily rebukes him and begins planning another amorous adventure. Donna Elvira enters, swearing either to win back her faithless lover, or to seek revenge on him. As Giovanni emerges to comfort the suffering beauty, he recognizes her as one of the many women he has seduced, promised to marry, and deserted. He manages to slip away, instructing Leporello to advise Elvira to forget him. Leporello shows Elvira a catalogue in which he has recorded Don Giovanni’s conquests. The outraged Elvira plots revenge.

In the countryside, a peasant couple, Zerlina and Masetto, celebrate their impending marriage with friends. Happening upon the scene with Leporello, Don Giovanni sets his sights on Zerlina and springs into action. He invites the wedding party to his home and encourages everyone – except Zerlina – to tour the estate. Masetto is reluctant to leave Zerlina with Giovanni, but the Don makes it clear that he’d better do as he’s told. Masetto grudgingly obeys his aristocratic rival, and departs. Giovanni tells Zerlina that she is worthy of a far better husband than the peasant Masetto. She is just about to yield to his seduction, when they are interrupted by Donna Elvira, who denounces Giovanni and spirits Zerlina away.

Don Giovanni encounters Don Ottavio and Donna Anna, but it soon becomes clear that they don’t realize that it was he who killed the Commendatore. Rather, they seek his help in apprehending the killer. Donna Elvira returns, lamenting Giovanni’s faithlessness, but Giovanni assures the others that Elvira is deluded. After Elvira and Giovanni have gone, Anna realizes in horror that Giovanni was her father’s killer, having recognized his voice in his parting words. After Ottavio expresses his love and concern, Anna relates the story of her encounter with Giovanni and calls on Ottavio to avenge the crimes.

In the garden of Don Giovanni’s palace, Leporello informs Giovanni that he has entertained the peasants with skills acquired from his master – lying and getting them drunk. He relates that Zerlina arrived at the palace with Donna Elvira, who again proclaimed Don Giovanni’s perfidy, but he ejected Elvira from the premises. Giovanni orders a celebration replete with wine and women. As Zerlina and Masetto enter, she assures him that she is innocent of any wrongdoing, and invites him to beat her if he doubts her. Alarmed when she hears Giovanni’s voice, she begs Masetto to take her away. Instead, Masetto conceals himself in order to eavesdrop on their conversation. When Giovanni once again attempts to seduce Zerlina, Masetto confronts him. Unruffled, Giovanni scolds Masetto for leaving his bride-to- be unattended, and invites the couple inside for dancing. Donna Anna, Donna Elvira and Don Ottavio, arrive at the palace, masked. At Giovanni’s request, Leporello invites them to join the festivities. The avengers pray for God’s protection. Meanwhile, Masetto fumes as Leporello keeps him away from Zerlina and Don Giovanni. When a small orchestra strikes up a minuet, Leporello insists upon dancing with Masetto, thus allowing Giovanni to lead Zerlina away. She is soon heard shrieking for help, and Leporello warns his master that the guests are becoming suspicious. Masetto and the masked trio move to rescue Zerlina just as she rushes in followed by Giovanni, who is dragging Leporello and accusing him of being the attacker. No one, however. believes this ploy. Don Ottavio and his comrades remove their masks and confront Giovanni, but he once again eludes his adversaries and escapes.

Act II
At dusk, on a street in Seville, Leporello threatens to leave Giovanni’s service, but the Don bribes him to remain. Leporello entreats his master to give up his amorous adventures, but Giovanni refuses. He plans his current project: the seduction of Donna Elvira’s chambermaid. Just then, Elvira appears on her balcony, lamenting her continuing infatuation with Giovanni. The Don compels Leporello to impersonate him, and begs Elvira’s forgiveness. She succumbs to the entreaties and descends from the balcony After Leporello, disguised as Giovanni, goes off with Elvira, the Don takes up a mandolin and serenades Elvira’s chambermaid. When Giovanni is suddenly confronted by Masetto and a band of vengeful peasants, he identifies himself as Leporello and instructs them to split up in order to ambush Giovanni. Now alone with Masetto, Giovanni disarms and beats the peasant, and then flees. Zerlina enters and finds the battered Masetto. She promises him a special, loving remedy to ease his pain.

Donna Elvira and Leporello enter. Frightened by the darkness, they grope about in search of an escape. Donna Anna, Don Ottavio, Masetto, and Zerlina arrive and demand the death of Elvira’s companion, whom they suppose to be Giovanni. As Ottavio is about to kill him, Leporello reveals that he is indeed not Giovanni and, taking advantage of their surprise, escapes. Convinced that Giovanni is the Commendatore’s murderer, Ottavio vows to punish the Don and to bring consolation to Donna Anna. Left alone, Elvira is torn between her desire for vengeance against Giovanni and the love she still feels for him.

Leporello and Giovanni, both fleeing from their pursuers, meet in a cemetery. Leporello complains that, while disguised as Giovanni, he was nearly killed in his master’s stead. The Don’s disguise, however, served him better, allowing him to enjoy the favors of Elvira’s chambermaid. An ominous voice sounds in the darkness, and the terrified Leporello realizes that it is the statue of the Commendatore who is addressing them. Giovanni forces Leporello to read the inscription on the pedestal of the statue: “Here I wait to avenge myself on the wretch who brought about my death.” Giovanni commands Leporello to invite the statue to dinner. The servant unwillingly obeys, and the statue nods in assent and answers yes.

At Donna Anna’s home, the lady chides Don Ottavio for speaking of marriage so soon after the death of her father. She affirms her love for him, but asks him to be patient.

At Giovanni’s palace, the Don is served dinner by Leporello while being entertained by small orchestra. Donna Elvira enters, but Giovanni mocks her pleas to him to mend his ways. After Elvira exits, a terrified scream is heard. Giovanni sends Leporello to investigate; the servant returns, stammering that the Commendatore’s statue has indeed arrived for dinner. Giovanni orders Leporello to set another place at the table, but the statue, disdaining mortal food, asks Giovanni to accompany him. Declaring that he fears nothing, Giovanni accepts and clasps the statue’s outstretched hand. The Commendatore demands that Giovanni repent, but he refuses and is then threatened by demon voices who promise that his earthly crimes will pale compared to the tortures that await him in Hell. Don Giovanni disappears.

Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, and Leporello tells them of his master’s demise. Ottavio and Anna look forward to their marriage, Elvira resolves to enter a convent, and Zerlina and Masetto contemplate a happy dinner together. Leporello decides to search for a better master. They all sum up the recent events by quoting an ancient proverb: “Such is the fate of those who do evil.”

Sinopsis en Español

Acto I

Escena 1. Una calle afuera de la casa del Commendatore.

Leporello, sirviente de Don Giovanni, espera impacientemente a su amo afuera de la casa de Donna Anna, donde Don Giovanni intenta seducir a la dama. De repente, aparecen Don Giovanni y Donna Anna, forcejeando. Anna trata de descubrir su identidad, sin lograrlo. Aparece su padre, el Commendatore, y desafía a Don Giovanni a un duelo; Anna corre en busca de ayuda. Don Giovanni, al principio reacio, acepta el desafío y mata al viejo. Leporello y Don Giovanni escapan. Donna Anna regresa con su prometido, Don Ottavio, encuentran muerto a su padre, y ella hace que Ottavio jure vengarse de la muerte de su padre.

Escena 2. El día siguiente.

Leporello, habiendo pedido a Don Giovanni que prometa no castigarlo por hablar libremente, le dice que su vida es escandalosa. Cuando Don Giovanni se enoja, Leporello cambia de tema y habla del “catálogo” de mujeres de Don Giovanni. Mientras Don Giovanni le cuenta de su última amante, aparece Donna Elvira. Los hombres no la reconocen, y se esconden mientras ella expresa su ira por el engaño sufrido a manos de un canalla. Cuando Don Giovanni, complacido por la posibilidad de otra conquista, se acerca a consolarla, ella lo reconoce como el hombre que se casó con ella y la abandonó. Mientras ella lo reprende, el abatido Don Giovanni se escabulle, y Leporello, explicándole que ella no es la única, le muestra a Donna Elvira el catálogo.

Escena 3. La campiña cerca del castillo de Don Giovanni.

Un grupo de campesinos celebra la boda de Zerlina y Masetto. Don Giovanni y Leporello admiran a las muchachas; Don Giovanni está muy interesado en Zerlina. Invita a todos a entrar a su castillo para comer y beber. Pero él detiene a Zerlina, lo cual enfada al celoso Masetto, a quien finalmente convencen de seguir con los otros. Don Giovanni promete casarse con Zerlina. Seducida, Zerlina asiente, pero reaparece Donna Elvira, le advierte a la muchacha acerca de él, y se la lleva. Llegan Donna Anna y Don Ottavio. Sin darse cuenta que Don Giovanni es el hombre que asesinó a su padre, Anna busca su ayuda. Vuelve Donna Elvira y trata de decirles a los otros qué tipo de hombre en realidad es, pero Don Giovanni les dice que Elvira está loca y se la lleva. Sin embargo, Donna Anna se ha dado cuenta, por su voz, que Don Giovanni fue su atacante. Le dice a Don Ottavio lo que le pasó a ella la noche en que mataron a su padre, y vuelve a pedirle que busque venganza. Ottavio, solo, reflexiona sobre su amor por ella. Reaparecen Don Giovanni y Leporello. Leporello le cuenta que emborrachó a los aldeanos y además logró dejar afuera a Elvira. Don Giovanni, muy complacido, ordena que se organice una gran fiesta y se retira para prepararse. Masetto llega al acecho al jardín, ignora las súplicas de Zerlina y la acusa de ser infiel. Ella le insta a Masetto a golpearla si quiere, siempre y cuando se reconcilien. Masetto cede a sus súplicas, pero cuando escuchan que se acerca Don Giovanni, Zerlina se inquieta y Masetto, con sospechas, se esconde para verlos juntos. Don Giovanni reitera sus atenciones y trata de llevarla hacia un costado, justo al mismo lugar donde está escondido Masetto. Don Giovanni, recuperándose rápidamente de la sorpresa, despreocupadamente le explica a Masetto que Zerlina extrañaba a su marido, y se retira con la pareja. Entran Donna Anna, Don Ottavio, y Donna Elvira, enmascarados, con la intención de exponer a Don Giovanni delante de todos. Don Giovanni y Leporello, sin reconocerlos, los invitan a la fiesta.

Escena 4. Dentro del castillo de Don Giovanni.

Mientras los invitados bailan, Don Giovanni sigue con sus insinuaciones hacia Zerlina. Le ofrece una efusiva bienvenida al trío enmascarado. Baila con Zerlina; Leporello agarra a Masetto y lo obliga a bailar, permitiendo que Don Giovanni se aleje con Zerlina a la fuerza. Cuando se oyen los gritos de Zerlina, Masetto y los otros corren a encontrarla, pero Don Giovanni entra nuevamente y trata de hacer parecer que Leporello es el culpable. Don Ottavio, Donna Anna, y Donna Elvira se quitan las máscaras y amenazan a Don Giovanni, que los mantiene a raya con su espada. Usando a Leporello de escudo, Don Giovanni se escapa.

Acto II

Escena 1. Un patio afuera de la casa de Donna Elvira.

Leporello amenza con dejar a Don Giovanni, pero éste lo convence de quedarse al darle un monedero con dinero. Don Giovanni tiene un plan: Leporello debe hacerse pasar por él y persuadir a Elvira de alejarse con él, dejando a Don Giovanni, vestido de Leporello, libre de seducir a su doncella. Intercambian sus ropas. Cuando aparece Elvira, Don Giovanni se esconde detrás de Leporello y le canta. Elvira consiente en acercarse a él. Don Giovanni se esconde mientras Leporello torpemente le hace el amor a Elvira. Don Giovanni aparece repentinamente, haciendo parecer que es un ladrón, y la pareja se va corriendo. Don Giovanni entonces canta una serenata a la doncella, pero se ve obligado a esconderse cuando Masetto y unos aldeanos armados llegan a buscarlo. Fingiendo ser Leporello, Don Giovanni se acerca y les dice que ha abandonado a su amo, y los manda en varias direcciones a encontrarlo. Solo con Masetto, Don Giovanni lo engaña para que le entregue sus armas, le da una paliza y se va corriendo, dejando a Masetto gimiendo en el suelo. Aparece Zerlina, lo consuela, y lo lleva a casa. Regresan Leporello y Elvira; él trata de encontrar una forma de escaparse de ella. Justo cuando encuentra la puerta del patio, entran Ottavio y Anna, seguidos por Zerlina y Masetto. Creyendo que él es Don Giovanni, lo acorralan mientras Elvira les ruega que lo perdonen. Desesperado, él revela quién es, para sorpresa de todos. Cuando se abalanzan sobre él, les ruega que tengan piedad pero logra escapar. Don Ottavio insta a los demás a consolar a Anna mientras él sale en busca de venganza. Elvira, dejada sola, se lamenta del engaño.

Escena 2. Un cementerio.

Don Giovanni jocosamente le cuenta sus aventuras a Leporello. De repente, una voz fantasmal dice que su júbilo pronto se acabará. Leporello, atemorizado, nota una estatua del Commendatore, sobre la cual está inscripta una promesa de venganza sobre su asesino. Don Giovanni descaradamente ordena al aterrorizado Leporello que invite a cenar a la estatua. La estatua acepta.

Escena 3. El salón comedor de Don Giovanni.

Don Giovanni ordena a la orquesta que comience a tocar mientras come, a la vez que Leporello saca comida de la mesa a escondidas. Irrumpe Donna Elvira y le ruega a Don Giovanni que cambie su forma de vida, pero él simplemente la invita a comer. Mientras ella se retira, de repente se detiene en la puerta, grita, y corre por otra puerta. Don Giovanni ordena a Leporello que vaya a ver lo que había ahí. Leporello lo hace, y regresa tartamudeando acerca de un hombre de piedra que toca la puerta. Aparece la estatua del Commendatore y anuncia que ha llegado a cenar. Don Giovanni ofrece su hospitalidad y Leporello se esconde. La estatua declina aceptar comida de mortales, pero invita a Don Giovanni a cenar con él. Don Giovanni acepta, y le da su mano a la estatua como promesa, pero se ve atrapado. La estatua exige que Don Giovanni se arrepienta pero él se niega, y es llevado arrastrando al Infierno mientras un coro de demonios lo condena. Ottavio, Anna, Elvira, Zerlina, y Masetto ahora llegan a enfrentar a Don Giovanni. Angustiado, Leporello explica lo que ha pasado. Donna Anna accede en casarse con Don Ottavio; Donna Elvira se retirará a un convento; Zerlina y Masetto irán a su casa a comer; y Leporello irá a la posada a encontrar un nuevo amo. La moraleja de la historia: A mal vivir, mal morir.

Translated to Spanish by: Ana C. Martinez and Claudio Luchina

Special Discounts