Don Giovanni.
A title I simply can’t say—I have to sing it. Don Giovaaaniii.
Every time those two words pop up, I hear it loud and clear in my head—just like the Commendatore booming it out at the end of the opera. You know, the stone statue guy who climbs out of his grave just to drag Don Giovanni down with him. He belts it out, no time to stall. Now it’s stuck—thanks a lot, stone wall.
But what if we flip the script? What if Don Giovanni doesn’t get dragged to hell—because he’s already been there?
That’s exactly what director David Hermann dares to imagine. In his take, Don Giovanni doesn’t just flirt with flames—he’s a full-blown resident of the underworld. Or, well… not him exactly. It’s Proserpina, queen of the dead, borrowing his body for a quick trip to the surface. Married (less than happily) to Pluto, she gets just one day a year to roam the land of the living. And on this particular day? She stumbles upon Don Giovanni.
So hang on—if Don Giovanni is actually a woman in a man’s body… how does that work with all the ladies he seduces, you might ask?
Well, in today’s world, it wouldn’t exactly be a stretch for two women to fall in love. But that’s not quite the route Hermann takes. Instead, he comes up with other solutions—creative ones, let’s say. Still, despite all his twists and turns, something rather unexpected slips in during the very final seconds of the night…
Partyyyy Timeeee
It’s July in Munich, which means the city’s rolled out the red carpet. The Münchner Opernfestspiele 2025 is in full swing!
Outside the main entrance, it’s all glitz, glam, and gala glamour: high heels, sharp suits, camera flashes, and people striking their very best opera-ready poses.
During intermission, I don’t think I’ve ever seen so many drinks in hand—or so many tiny plates with even tinier finger food. The vibe is definitely something special.
And what about Don G’s outfit, you ask? Well, when he’s just himself, it’s all dark red and dashing. But when Proserpina takes over… things get a little brighter.
Let me explain. The first scene where the big body-swap moment happens. She’s standing behind him and pulls his upper body backwards… and then, ta-da! He yanks off his outer layer like he’s in some kind of opera-themed circus act, revealing a blazing orange costume underneath. It’s a funny little moment, and the audience definitely let out a chuckle or two.
Why orange for someone from hell? You’d think red would be the obvious choice, right? That’s definitely a question I asked myself. Maybe it’s because they feel like prisoners down there? At least Proserpina does. And when she’s inside Don G, she’s kind of trapped in his body. But then again, not really trapped—since she can slip away whenever she wants…
And just to kick things up a notch, the music gets cheeky little twists here and there. When Pluto makes his grand entrance and starts causing trouble, the timpani decide to join the party. First, it’s all quiet and sneaky, like it’s tiptoeing in… then—bam!—it explodes into a full-on, thunderous crescendo.
The Scenic Tour
While the director shakes things up in plenty of ways, the locations stay pretty much where we expect them: bedrooms, the town hall, a party, a courtroom. Nothing too wild on paper. But on stage? That is a whole other story. Walls kept sliding in and out, rising and falling—constantly on the move (just like our friend Don G). The floor spun and shifted, twisting the space around. Let’s just say, the eyes never really had a dull moment.
The man with many mistresses—who, as we’ve established, is actually a lady here. His “game” is a bit different from the usual Don Giovanni playbook. Konstantin Krimmel had to cook up a whole new recipe for this role, serving up a character that’s lighter, more lyrical, and way less brooding than the dark and mysterious type Don G usually is.
His right-hand man, Leporello, was absolutely spot-on thanks to American bass-baritone Kyle Ketelsen. He sang it, looked it, and owned it just like the Leporello dancing around in my imagination. Thumbs up!
Donna Anna, aka Vera-Lotte Boecker, deserves a shout-out too, with her rich, dark, and nuanced voice that brings every feeling to the surface.
And Donna Elvira (Samantha Hankey) digs deep into her character, showing off some seriously impressive control—especially when she sings soft and delicate.
Tonight’s conductor, GMD Vladimir Jurowski, usually nails everything from Wagner’s thunderous storms to Mozart’s more delicate whispers. But tonight? Let’s just say, he seemed to have left his magic wand at home. Some moments sparkled, sure, but other times it felt like the orchestra hit the snooze button. I’m afraid I have to say the same about the pianist accompanying the recitatives—didn’t make much of a statement.
Taking a heavyweight classic like Don Giovanni and giving it a fresh spin can be quite the feat—mixing Mozart’s magic with Hermann’s heat. Did it catch, did it hold? You decide—was the story told?
Fun Fact:
The very first opera ever performed at the Salzburg Festival? Don Giovanni! And guess who conducted it back in 1922? None other than Richard Strauss himself!
Trailer:
Cast:
- Conductor: Vladimir Jurowski
- Director: David Hermann
- Stage Designer: Jo Schramm
- Costume Designer: Sibylle Wallum
- Lighting Designer: Felice Ross
- Choreographer : Jean-Philippe Guilois
- Dramaturge: Olaf Roth
- Chorus: Christoph Heil
- Don Giovanni: Konstantin Krimmel
- The Commendatore: Christof Fischesser
- Donna Anna: Vera-Lotte Boecker
- Don Ottavio: Giovanni Sala
- Donna Elvira: Samantha Hankey
- Leporello: Kyle Ketelsen
- Zerlina: Avery Amereau
- Masetto: Michael Mofidian
- Pluto, Gott der Unterwelt: Andrea Scarfi
- Proserpina, seine Gattin: Erica D´Amico
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
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