Don Giovanni

Approaching the Opera can be very complicated especially at the beginning. Do not be discouraged if you do not immediately grasp the “words sung” by the artists (good thing to have the libretto of the opera in your hands) and it would be optimal to start with an Opera Buffa rather than a Melodrama. But, on the other hand “The reaction of the people who see the Opera for the first time is very dramatic: they either love it or they hate it. And if they love it, they love it forever, otherwise … they will learn to appreciate it but they will never really feel it “, Edward Lewis (Richard Gere) in Pretty Woman.

The Senzaspine Orchestra, conducted by Maestro Tommaso Ussardi, with the staging of “Don Giovanni” by Wolfgang Amadeus Mozart, with a libretto by Lorenzo Da Ponte and directed by Giovanni Dispenza, brings together both the Vivian novels (Julia Roberts ) than the most elitist music lovers.

The staging is “fresh”: an adjective perhaps misleading and certainly little used in the context of a staging, but which makes it absolutely clear how close the contamination between the past and the contemporary is in this mise-en-scène. The Academy of Fine Arts of Bologna – with the supervision of Chiara Guadagnini and the timely direction of Dispenza (which returns to the opera after the “Barber of Seville” in 2018 and “The Marriage of Figaro” in 2019) – has created scenographies easily decipherable even by neophytes and made by lights that alternate as much as the notes of the score and by video projections that follow one another to modify environments and atmospheres both on the backdrop and on a curtain of white filaments used both for scene changes and to create games of vision as of suggestion.

Particularly appreciable is the use of color in the costumes (Monica Mulazzani) – not distorted in their eighteenth-century style – as a symbolic element of the characterization of the characters and their recognizability.

Don Giovanni (Davide Peroni) is a magenta red libertine while Leporello – personified by a much applauded and rightly so Masashi Tomosugi – aroused even more sympathy and exuberance in the green of his costume. Donna Anna (Ilaria Casai) a lady in blue; Donna Elvira (Clementina Regina); Don Ottavio (Filippo Pina Castiglioni) gold; Commendatore (Luca Gallo) bronze; Zerlina (Stela Dicusara) cream white; Masetto (Paolo Marchini) brown.

Another particularly appreciable element, the projection of the projection of the verses sung on the upper part of the curtain for an easier use by anyone.
On the top step of the Orchestra Tommaso Ussardi, winner in his first confrontation with the Mozart masterpiece, conducting talented and very involving young musicians in their performance.

How does the work end? We don’t tell you, also because Da Ponte’s libretto can be read by anyone on the web. But do you want to put the pleasure of listening to it instead of reading it?

Playful Drama in Two Acts KV 527
music Wolfgang Amadeus Mozart
libretto Lorenzo Da Ponte
director Tommaso Ussardi
directed by Giovanni Dispenza
choir masters Michele Pirani, Nicola Carli, Enrico Dolcetto
continuist Angelo Michele Errico
scenes Chiara Guadagnini with the collaboration of the Academy of Fine Arts of Bologna
Yoursumi Monica Mulazzani
lights Andrea Bondi
video Daniele Poli and Serena Pantaleo
assistant director Mattia De Luca
stage manager Turchese Sartori
master collaborator of the room Maria Laura Berardo
casting manager Angelo Gabrielli
historical fencing instructor Cesare Verzini, SAAM “Sala d’Arme Achille Marozzo”
historical dances Alessia Branchi
makeup Francesca Bagnara
wig Palmer School
duration 3 hours including interval


At 25 I wanted to work in the world of theater. Now I write about it with the same passion as then, making many forays into art and less into music.

Kim Lee

Kim is a Chinese girl and has studied in England. Kim loves playing video games, she likes Fortnite games. Kim likes Hollywood movies. Kim's English is very good, so she became a writer. Email :

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