The Royal Opera House in London has launched its 2026-27 season with a revitalized staging of Mozart’s Don Giovanni, offering audiences a brisk and intense interpretation of the classic opera. Directed by Kasper Holten, this production, first mounted in 2014, returns following successful runs, presenting the story in a stripped-back, abstract environment that foregrounds the names of Don Giovanni’s numerous female conquests rather than a traditional period setting.
The revival sees Gordon Bintner take on the role of the titular character, delivering a performance marked by a smooth, honey-toned voice and a casually charming demeanor. While Bintner brings a palpable ease to Don Giovanni’s seductive qualities, his portrayal lacks the larger-than-life menace often associated with the role. Roberto Tagliavini performs as Leporello, the ever-faithful servant, singing well but eliciting few moments of levity, in line with this production’s less comedic approach. His vocal authority hints at the potential for a future Don Giovanni interpretation.
Rachel Willis-Sørensen returns as Donna Anna, upholding a reputation for combining vocal beauty with commanding presence. Her rendition of Donna Anna’s closing aria stands out as one of the finest current interpretations. A contrasting portrayal is provided by mezzo-soprano Aigul Akkhmetshina as Donna Elvira, whose rich, expressive voice brings both fury and vulnerability to a role usually sung by a soprano, although previous mezzo interpretations have been noted. Tenor Bogdan Volkov offers a measured and refined performance as Don Ottavio, characterized by clean breath control and elegant phrasing.
Giulia Semenzato is featured as Zerlina, delivering a nuanced and sophisticated portrayal matched by Dingle Yandell’s robust Masetto, who for a change projects the strength to challenge Don Giovanni. Andreas Bauer Kanabas rounds out the principal cast with a powerful presence as the Commendatore.
Conductor Stefano Montanari drives the performance with brisk tempos and intense dramatic energy, pushing the orchestra to deliver an orchestral force rarely heard in traditional interpretations of Don Giovanni’s final scenes. His dynamic approach underscores the urgency and reckoning embedded in the opera’s conclusion.
Beyond London, the season’s opening schedule also includes a revival of Handel’s Alcina, with new productions of Wagner’s Parsifal and Götterdämmerung planned for later in the season—an ambitious programming choice given current financial constraints at the Royal Opera House.
The Don Giovanni revival runs through October 15, offering a fresh, albeit brisk and streamlined, examination of one of opera’s most enduring anti-heroes.