Get to know: Mozart's "Don Giovanni"

Lyric Opera of Chicago opens its 2026/27 Season with Wolfgang Amadeus Mozart’s Don Giovanni, completing the company’s traversal of the Mozart/Da Ponte trio of operas, under Music Director Enrique Mazzola.

Premiering in 1787, the work occupies a unique place in the operatic canon, blending elements of comedy and tragedy so seamlessly that it defies simple categorization. Mozart himself labeled it a dramma giocoso, or “playful drama,” but audiences and critics have long recognized that its tonal range extends far beyond that label. Today, Don Giovanni is widely regarded as one of the greatest operas ever written, frequently performed and studied for its rich characterization and innovative structure.

The libretto was written by Lorenzo Da Ponte, a prolific librettist who also collaborated with Mozart on The Marriage of Figaro and Così fan tutte. The story of Don Giovanni, a libertine nobleman who seduces women and defies moral and social norms, is based on the long-standing Don Juan legend, which had been adapted in various literary and theatrical forms across Europe.

Mozart composed Don Giovanni on commission for the Prague Opera, following the enthusiastic reception of The Marriage of Figaro in that city. He arrived in Prague in 1787 to oversee the production, reportedly completing parts of the score very close to the premiere date. One famous anecdote claims that the overture was finished the night before the first performance, with copyists working overnight to prepare the parts for the orchestra. The opera premiered on October 29, 1787, at the Estates Theatre in Prague, where it was met with great success. Mozart later adapted the work for a Vienna performance in 1788, making revisions including adding new arias to suit different singers. 

The opera opens with Don Giovanni attempting to seduce Donna Anna, an act that leads to a duel with her father, the Commendatore, whom Giovanni kills. This violent beginning sets the tone for the unfolding drama, as themes of justice, revenge, and retribution come to the forefront. Aided by his servant, Leporello, Don Giovanni continues his reckless pursuit of pleasure, leaving a trail of broken relationships and social chaos. Leporello provides both comic relief and a moral counterpoint, famously listing his master’s countless romantic conquests in the aptly named “Catalogue Aria.” Meanwhile, several characters seek justice or revenge against Giovanni, including Donna Anna and her fiancé, Don Ottavio, as well as Donna Elvira, whom he had previously seduced and abandoned.

As the plot progresses, Giovanni’s defiance becomes increasingly extreme. He refuses to repent for his actions, even when confronted with supernatural warnings. The resulting climax is one of the most striking in all of opera: the statue of the slain Commendatore comes to life and confronts Giovanni at dinner, demanding that he repent. Giovanni refuses, maintaining his arrogance to the end, and is ultimately dragged down to hell in a dramatic and terrifying scene.

Conducted by Maestro Mazzola and directed by Chicago theatrical legend Robert Falls, this production stars Ryan Opera Center alumnus and Lyric veteran Christian Van Horn as the legendary seducer, leading a stellar ensemble that includes the return of Lawrence Brownlee as Don Ottavio and Mané Galoyan as Donna Anna. Nina Solodovnikova as Donna Elvira and Tommaso Barea as Leporello make their Lyric debuts. Kyle Ketelsen sings the title role for two performances.

Don Giovanni endures not only because of its memorable music but also because of its profound exploration of human behavior. Mozart’s ability to balance humor, darkness, and emotional depth ensures that the opera remains as compelling today as it was at its premiere.