Da Ponte and Mozart's Don Giovanni is complex, imperfect and above all imperfect dramaturgical matter. Anomalous and restless as few: an unsolvable enigma, which contributes to perpetuating its fascination and marking its vertiginous genius.

With this production - which has chosen to adopt a pre-existing dramaturgical/musical reduction to facilitate its dissemination - the Maggio wants to bring back to the public a ‘street theatre’, with a rather explicit reference to the language and forms of the Commedia dell'Arte, that ancient theatre that knew how to amuse and amaze, wringing easy laughter out of the most disreputable scenes, then dreading the terrifying punishment from heaven. A theatre from which, after all, it is unthinkable to disregard, when working on the dramaturgical/musical material we are talking about.

The scenic structure, like the use of costumes, backdrops and props, was conceived in line with the objective, and the direction moved along this line, investing heavily in the physical and dynamic component of the young performers of the Accademia del Maggio, called upon to perform a test of theatrical virtuosity, which urges them to measure themselves against the extremes of the double expressive polarity of the libretto and the music.

The dramaturgical project placed itself at the service of the objectives and the directorial work: playing with the costumes of a historical production of the opera, it sought to connect with the director's choice to “narrate” Mozart's Don Giovanni - even to those who

New staging

Free entrance by reservation only, by writing to [email protected] and stating the names of all participants.

Poster © Gianluigi Toccafondo