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The embodiment of the seducer inspired Mozart to create one of his most influential operas – at once light-hearted, witty and profound. The perfect material for Herbert Fritsch, master of theatrical folly, whose highly musical style of staging, which renders homage to slapstick, is perfect for this "jocular play" about deadly passions.
Don Juan – it's not a name, it's an affirmation! An affirmation of unbridled passion, sensuality and desire. Nothing can get in the way: neither an indignant Mr Papa, who would rather lose his life than the honour of his daughter, nor the woman, who has already been taught her lesson and still does not know any better, nor the tender innocence of the bride on her wedding day nor the raging jealousy of the cuckolded groom. In the end they are all after him: Don Juan – a driven man, with a zest for life and avid for love, for whom things are no longer going as well as they once did. He doesn't even really get to sing on his restless grand tour d'amour. However, he's prepared to do absolutely anything for his affirmation. And in the end is made to pay the ultimate price.
No other work by Mozart demonstrates in such consistent fashion his unbridled attack on every convention - not only in terms of content, but also with regard to form. New characters tumble on-stage with such abandon that nothing links them aside from the constantly fleeing protagonist. The first act has a finale with murder in the air and right until the bitter and absurd end the action proceeds at a rapid pace, in a topsy-turvy fashion. But everything is bathed in celestially beautiful tones. In his version of Don Giovanni director Herbert Fritsch homes in on the archetypal core of Don Juan and brings him to life as a malicious harlequin – a loser, audacious, at once side-splittingly funny and irresistible, enveloped in the lascivious and playful, deep black apex of the music of Mozart.
Libretto by Lorenzo Da Ponte / German translation by Sabrina Zwach