As the first artistic co-operation here between conductor, Teodor Currentzis and director, Romeo Castellucci, this Don Giovanni was hotly awaited. Presented in opulent festival scale, the production brings pulsating visuals with images, gags, and effects which dominate over logic and libretto at times, but - interfused with an idiosyncratic and pristinely-worked concept from the pit - one  culminating in an event inimitable for Salzburg in sheer scale and sumptuousness.

Ahead of the first orchestral chord, workmen empty the contents of a Baroque church, establishing “liberty” and a void which succumbs to status symbols and character-related props - a limousine, a grand piano, the Commendatore’s crutch, bouncing basketballs and a wheelchair - all of which jarringly crash in turn from the heights to propel various tableaux into action. Leporello’s Catalogue aria sees two enormous photocopy scanners “mating” to underscore heartless numbers and virtual copies of the abused and abusers.

Some 150 female extras (of all shapes and generations) were drawn from Salzburg’s community (superbly choreographed by Cindy van Acker) to symbolise and interweave as appropriate - be it clad in sensual flesh-coloured body stockings or as gyrating sirens in black for the final Act’s cemetery scene.

Featured images include Dürer’s “Hare”, Adam and Eve, and Zerlina’s apple - augmented by a live goat and a trained rat, in addition to Ottavio’s white French poodle. White suits are standard, with the Don and Leporello almost twin-like - while Ottavio is allocated a kaleidoscope of surreal images, underscoring  his valour - and fate, (including one garment with the word “TRY” stamped on its back).

A scrim is used throughout, diffusing the action and facilitating the nebulous atmosphere in Act 2 where heavy ivory curtains shield the church walls. At times, the lighting approaches Harold Prince’s “White Out” (an effect he created for the musical, Evita), with figures coming and going in virtual obscurity. The Don’s Champagne Aria is treated to stunning effect when the orchestra is raised to meet the Lead singing from the ramp - with the entirety flooded by stroboscopic lighting. Giovanni’s demise finds the anti-hero stripped naked and writhing in white liquid - his final spasms ultimately echoed in Pompeiian-like plaster casts, which are then embodied in pose by the sextet for the evening’s finale.

Castellucci in interview describes the Don as “diabolical” - a force that divides and produces division, unleashing chaos, and like the diabolos (the Devil), one who is “condemned to fall.”

Ultimately, an evening of dynamic staging, with much food for thought.

This particular performance was the final in the series and bristled with energy with its well-balanced cast showing painstakingly-reflected detail in subtle phrasing and intent - in exquisite harmony with the pit.

As Giovanni, Davide Luciano makes his Salzburg debut with this production. His reading is nonchalant and stage savvy - if remaining rather modest in sheer charisma and vocal impact (particularly for this venue). Most successful in his lyrical moments, this Giovanni delivers some very cultivated singing throughout the long evening, but ultimately seduces through finesse rather than grandeur and earthy virility.   

His Leporello (Vito Priante) is not dissimilar in looks (while a shade darker and richer in vocal colour) and was undoubtedly chosen to match rather than contrast - thus leaving both leads (together with the cast’s Masetto) blandly similar in essential vocal quality. This Leporello is deprived of the standard buffo treatment and really functions as the Don’s alter ego - weighting the message of the evening toward the dramatic, while leaving any tongue-in-cheek humour to the Director’s ironic choices for his mise-en-scène.

Michael Spyres’ Don Ottavio is constructed as the “outsider” and least attractive among the male leads, but the American tenor triumphs with his mellifluous vocal production, honeyed timbre, and an enviable dynamic facility which ranges from the lightest of controlled head tones through to robust (almost baritonal) weight when required - to become the production’s leading vocal light.  "Dalla sua pace" was suspended effortlessly (remaining undistracted by a French poodle on leash), while "Il mio tesoro" well-mirrored the gold standard of phrasing and line established by the finest of predecessors. 

Nadezhda Pavlova was particularly apt at scaling her Donna Anna to choirboy-like pianissimmi in her well-rounded palette of technical skills, with just sufficient vocal prowess to convince in her two set pieces. A nice production touch highlighted Anna’s deceptive character through a mimed flashback during her account to Ottavio preceding "Or sai chi l’onore."

More voluptuous in all respects - yet unusually vulnerable - Frederica Lombardi’s Elvira blossomed in characterization as the evening progressed to become the most personable of the three female leads, while enjoying many fine moments vocally.

Anna Lucia Richter’s Zerlina and David Steffens’ Masetto were nicely-coupled in all respects, with the Don’s attempted seduction cleverly augmented by naked female limbs which appeared to envelop the couple from behind. 

The Vienna Philharmonic Orchestra has been the staple backbone of all Don Giovanni productions at Salzburg since the initial 1922 version which was conducted by Richard Strauss. However on this occasion Teodor Currentzis’ brought his musicAeterna ensemble, performing on modern reproduction instruments tuned a quarter tone below standard pitch - 430 Hz. A fortepiano (performed by Maria Shabashova) lead the continuo with great import, including bold crashing discord at times, and with additional contributions accommodating staging demands as well as providing occasional surprises in some of the set pieces. 

As I was waiting for seating to be permitted, the orchestra could be heard rehearsing various excerpts inside the auditorium - a foretaste of the quest for excellence! The ensemble’s artistic relationship with Currentzis appears to be hand-in-glove, producing the most meticulous and inspired playing with an assiduous energy and focus which perfectly complimented the activity on the stage - if on occasion chaperoned by some slightly unconventional tempi.