Wolfgang Amadeus Mozart

Don Giovanni

7 June - 1 August 2014
Festival 2014
This production has ended

How many comic operas begin with spinechilling chords and slithering chromatics in the eerie key of D minor, continue with a cold-blooded murder, and end with the hero’s consignment to hell? Don Giovanni, even more than Le nozze di Figaro and Così fan tutte, the other two dark-shaded opere buffe by Mozart and Da Ponte, slinks restlessly between comedy and tragedy.

Jonathan Kent’s sleek, suspenseful production, first seen in the 2010 Glyndebourne Festival, captures this duality. ‘All the nuance and subtlety of this tension is present in Mr Kent’s sublime staging, which should become a Glyndebourne classic,’ wrote the Wall Street Journal.

The name ‘Don Juan’ has become a synonym for ‘womaniser’. The legendary 14th-century Spanish nobleman has inspired a still-unabated flood of literary and stage works, films and visual art. But in Mozart’s Don Giovanni, we meet the Don on a most unusual day: a day of foiled sexual conquests; a day in which he upsets the natural order by killing a man; his last day on earth.

In the title role, Canadian baritone Elliot Madore, returning after his 2012 Festival debut in L’heure espagnole, joins the distinguished line of Glyndebourne Dons beginning with John Brownlee in 1936. British tenor Ben Johnson sings Don Ottavio opposite Canadian soprano Layla Claire, returning as Donna Anna after her Glyndebourne Tour debut in 2012. Italian soprano Serena Farnocchia, who made her debut at Glyndebourne in La bohème in 2012, returns as Donna Elvira. Andrés Orozco-Estrada makes his Glyndebourne debut conducting the London Philharmonic Orchestra.

A revival of the 2010 Festival production
Sung in Italian with English supertitles

Listen to the Don Giovanni podcast (2011):

Supported by a Syndicate of individuals

This production (recorded at the 2010 Festival) is available on DVD from our shop

Don Giovanni recorded live in 2010 will be in cinemas from 6 July 2014. Find your nearest venue listed below.

* Start times are approximate, please check with cinema to confirm.

Cast and Creative team for the 2010 recording:

Conductor Vladimir Jurowski

Director Jonathan Kent

Designer Paul Brown

Lighting Design Mark Henderson

Movement Director Denni Sayers 

Fight Director Alison de Burgh

Film Director Peter Maniura 

Audio Mastering Andy Rose


Don Giovanni Gerald Finley

Donna Anna Anna Samuil

Donna Elvira Kate Royal

Leporello Luca Pisaroni

Don Ottavio William Burden

Zerlina Anna Virovlansky

Masetto Guido Loconsolo

The Commendatore Brindley Sherratt

The Glyndebourne Chorus

Orchestra of the Age of Enlightenment

Act I 

Leporello waits outside the Commendatore’s home as Don Giovanni, his master, is inside with the Commendatore’s daughter, Donna Anna. The masked Giovanni runs from the house with Anna following him. Awakened by the clamour, the Commendatore challenges Don Giovanni to a duel, which ends in the Commendatore’s death. After Giovanni and Leporello flee, Anna and her fiancé, Don Ottavio, swear vengeance upon the Commendatore’s masked killer.

Giovanni and Leporello overhear the plaint of a forsaken woman. Giovanni approaches, planning to seduce her, until he recognises her as Donna Elvira, a woman he recently seduced and abandoned. Giovanni orders Leporello to distract her while he escapes. Leporello tells Elvira that she is merely one of Don Giovanni’s thousands of conquests.

Villagers celebrate the impending wedding of Zerlina and Masetto. Giovanni, lusting after Zerlina, orders Leporello to entertain Masetto and the other revellers so that he may be alone with Zerlina. Giovanni has nearly conquered Zerlina when Elvira interrupts. Anna and Ottavio arrive and ask for Giovanni’s help in finding the Commendatore’s murderer. Elvira’s denunciations of Giovanni arouse their suspicions, but he assures them that Elvira is mad. After Giovanni leaves, Anna tells Ottavio that she has recognised Giovanni as her father’s murderer. 

Masetto chastises Zerlina for flirting with Giovanni, but she persuades him to forgive her. Giovanni invites the couple, along with three masked companions, to a party at his home. The masked trio – Anna, Ottavio and Elvira – steel themselves before entering.

At Giovanni’s party, Zerlina’s screams interrupt the dancing revellers, and Giovanni falsely accuses Masetto of attacking her. Anna, Ottavio and Elvira reveal their identities and confront Don Giovanni, who manages to escape.

Act II

Leporello threatens to leave Giovanni’s service, but Giovanni convinces him to stay and help him seduce Elvira’s maid. Exchanging clothes with Leporello, Giovanni serenades the maid while Leporello, dressed as Giovanni, diverts Elvira. Giovanni, still dressed as Leporello, encounters Masetto leading a vengeful mob in search of the Don. Giovanni dupes Masetto and escapes, and Zerlina comforts her battered fiancé. 

Leporello, disguised as Giovanni, is trying to flee Elvira when he is trapped by Ottavio, Anna, Zerlina and Masetto, who believe they’ve finally captured Giovanni. Leporello reveals his identity, pleads for mercy, and finally escapes. Ottavio reaffirms his intention to avenge Anna. Elvira laments her betrayal by Giovanni. 

Meeting up in a cemetery, Giovanni and Leporello encounter the slain Commendatore. Giovanni orders Leporello to invite him to dinner, and, to Leporello’s horror, his invitation is accepted. 

Ottavio reassures Anna that her father’s death will soon be avenged, leaving them free to marry. Anna, however, still feels reluctant to marry so soon after her father’s death. 


Giovanni feasts, waited upon by Leporello. Elvira bursts in, urging Giovanni to mend his ways, but he scorns her pleas. Elvira and Leporello encounter the Commendatore as he arrives for dinner. The Commendatore demands that Giovanni atone for his sins, but he defiantly refuses and meets his doom. Anna, Ottavio, Elvira, Masetto and Zerlina arrive in search of Giovanni but find only the stunned Leporello, who reports his master’s bizarre fate. They agree that all evil-doers must meet such a terrible end.

Creative Team

Conductor Andrés Orozco-Estrada
Director Jonathan Kent
Revival Director Lloyd Wood
Designer Paul Brown
Movement Director Denni Sayers
Lighting Designer Mark Henderson
Fight Director Paul Benzing


Il Commendatore Taras Shtonda
Donna Anna Layla Claire
Don Ottavio Ben Johnson
Don Giovanni Elliot Madore
Leporello Edwin Crossley-Mercer
Donna Elvira Serena Farnocchia
Zerlina Lenka Máčiková
Masetto Brandon Cedel 

London Philharmonic Orchestra
The Glyndebourne Chorus

Don Giovanni, Festival 2014. Leporello (Edwin Crossley-Mercer), Don Giovanni (Elliot Madore). Photo credit Robert Workman
Don Giovanni, Festival 2014. Zerlina (Lenka Máčiková) and Masetto (Brandon Cedel). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Don Giovanni (Elliot Madore). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Don Giovanni (Elliot Madore) and Donna Anna (Layla Claire). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Donna Anna (Layla Claire) and Don Ottavio (Ben Johnson). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Leporello (Edwin Crossley-Mercer) and Elvira (Serena Farnocchia). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Elvira (Serena Farnocchia). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Don Giovanni (Elliot Madore). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Zerlina (Lenka Máčiková) and Don Giovanni (Elliot Madore). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Don Giovanni (Elliot Madore) and Commendatore (Taras Shtonda). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Don Giovanni company. Photo credit Robert Workman.
Festival 2014, Don Giovanni. Leporello (Edwin Crossley-Mercer) and Zerlina (Lenka Máčiková). Photo credit Robert Workman.
Festival 2014, Don Giovanni. Zerlina (Lenka Máčiková), Don Giovanni (Elliot Madore). Photo credit Robert Workman
Festival 2014, Don Giovanni. Don Giovanni (Elliot Madore). Photo credit Robert Workman.
Festival 2014. Don Giovanni: Don Giovanni (Elliot Madore) and Commendatore (Taras Shtonda) Photo credit Robert Workman

“Mozart intended a sparkling night of music theatre, and this is that, for today.”
Rated 4* by The Arts Desk

“Among the women, the stand-out vocal presence was Layla Claire, also Canadian, whose Donna Anna revealed a rich dramatic soprano”
Rated 4* by the Guardian 

"...an enjoyable performance of high Mozartian accomplishment"
Rated 4* by the Daily Telegraph


Saw Giovanni again last Friday. Brilliant, hope to have the chance to see it again at Glyndebourne!

Saw Giovanni again last Sunday. Brilliant, hope to have the chance to see it again at Glyndebourne!

My husband Steve organised a trip to see this opera on Friday 1st August as a surprise for my birthday. Mozart is my favourite composer, but I had never seen Don Giovanni. What an experience; something that I will treasure for my whole life. Whilst "aficionados" might criticise minutiae I came away on a absolute high. Marvellous singing, particularly from Elviira and Anna, Giovanni and Leporello; a fantastic set from something so compact and lovely music from the LPO. Thank you to all on the production team as well. A wonderful evening.

Having been to Glyndebourne many times, the overall experience was as enjoyable as ever. I refused to allow the continued omission of 'Il Mio Tessoro' to spoil the enjoyment as irritating as this was. I can only assume either that Mr Kent is not a music lover at heart or that he has a rather large ego to tamper with the music of Mozart in this way.

Not a fan of this production, which was over the top and lacking in subtlety - I generally find implication and innuendo more interesting than being hit in the face with a hammer. Really, a backdrop with fully erect copulating satyrs? If your production can't convey Don Giovanni's nature without that sort of adolescent visual crutch, then your production is a failure.

That said, there performance was outstanding. The singing was uniformly excellent, and Layla Claire, as Donna Anna, was magnificent.

All in all, the quality of the singing and playing made for a most enjoyable evening, despite the immature production.

Oh no is Il mio tessoro still left out ? I'm coming on Friday and was seriously miffed at its omission in 2010 !

Have seen Don Giovanni several times and this was by far the best and most convincing production. A younger Don was more plausible and the Don and Leporello a great double act. I loved everything, even the staging, which I was a bit worried about having seen the satellite transmission of Rosencavalier.
Quite brilliant evening all round. Thank you.

"Brilliant production - perfect - the best I have ever seen"

Not my words, though I found every moment absolutely awesome in its perfection and beauty on saturday - but the words of a guest from Bezier who has seen Don Gionvanni over 20 times and specifically wanted to see it again as his favourite opera.

Thank you everyone for all performing this so superbly. xxxxxx

I tend to see most productions from a few to quite a few times so I always enjoy it when a principal I have already heard is temporarily unable to sing giving me the chance to hear the cover. The Masetto Brandon Cedel got the Leporello job on 9th July and the part of Masetto was covered by Timothy Dickinson. Had it not been for the announcement I very much doubt if anyone would have noticed as both looked and sounded as if they had been there since the beginning of the run. Brandon has the sort of voice which is so flexible I got to thinking he would also make a superb Don! I wish him well and hope we shall see and hear much more of him at Glyndebourne.

Saw Don Giovanni on Friday 4 July, went with my mother, brother and sister-in-law who had never seen an opera before. We all came away enthusing about the amazing set, production and performance. It was awesome, my sister-in-law particularly was so enthusiastic particularly as it was her first ever opera. We were very impressed with the meal we had in the Mildmay Restaurant.
Once again thank you for such a fantastic experience.

Saw Giovanni again last night. Brilliant

Leporillo prancing about in his underwear was puzzling; the Commendatore's initial entrance really very sadly limp and disappointing (he should be an enraged father!); the orchestra playing a tad too fast (for my taste). Mildly enjoyable but certainly not a great, or repeatable, production.

Bravo. Another great Glyndebourne evening. Fantastic singing especiually from Layla Claire as Donna Anna. I wass eminded of the Giovanni revival in 1982 where a young singer by the name of Carol Vaness made her debut at Glyndebourne as Donna Anna and look what happened there. I predict a great future for Ms Claire. There are romours that a new production of "La clemenze di Tito" is planned. For the central roles of Sesto and Vittelia Glyndeboure need look no further than Miss Erraught and Miss Claire.

Enjoyable. I found the Don and Leporello a very well matched pair. Elvira most elegantly sung but perhaps less manic than I should have liked. Anna sung by Layla Claire was startlingly good. I see she made her debut at Glyndebourne in the tour which is superb value for seeking out the best young singers.

Fantastic performance last night Bravo

Richard Strauss, had he survived, would have been 150 on 11th June 2014. So it was an interesting choice to perform Rosenkavalier on 12th and Don Giovanni on 11th. It would be so nice if six string players from the LPO were willing to play the introduction to Capriccio on Strauss' birthday.

Great to see a revival of this fantastic producton

Quite right but which don Giovanni? This version, lacking 'Il mio tesoro', ranks only second in my estimation. Surely it is not beyond the wit of man to find a place to interpolate the missing aria.

Surely the greatest piece of classical music ever written.

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