The Don Giovanni by Mozart, which inaugurated the last edition of the Festival of Spoleto with a staging directed by Giorgio Ferrara, continues the national tour. After the Teatro Coccia in Novara, tonight at 20:30 the debut at the Teatro Alighieri in Ravenna.

Upon the artistic project of the Festival of Spoleto and co-produced by the Fondazione Teatro Coccia di Novara and the Ravenna Festival in collaboration with Festival of Spoleto 60 and Cartagena Festival Internacional de Música, the staging of the Novara tour presents the direction and lighting design as well, by Giorgio Ferrara, while the conductor of the Luigi Cherubini Youth Orchestra is Matteo Beltrami this time. The San Gregorio Magno Choir of Ferrara is instead led by Mauro Rolfi. The dramaturgy is by Giorgio Ferrara and René de Ceccatty, the set design by Dante Ferretti and Francesca Lo Schiavo, the costume design by Maurizio Galante. The cast of the singers is composed of Dimitris Tiliakos (Don Giovanni), Cristian Saitta (The Commendatore), Lucia Cesaroni (Donna Anna), Giulio Pelligra (Don Ottavio), Francesca Sassu (Donna Elvira), Andrea Concetti (Leporello) Daniel Giulianini ( Masetto) and Arianna Vendittelli (Zerlina).

"The Don Giovanni by Da Ponte and Mozart, even if inspired from a famous Spanish comedy by Tirso de Molina, which was also adapted by Moličre in France, is a masterpiece of an overwhelming originality, due to the conflict between music and words. It is often represented as a tragi-comedy, because of the lighter scenes between Masetto and Zerlina and the comic side of the character Leporello, or the exchange of clothes and personalities in the second act (between the servant and the master),but actually it is a great requiem mass, of a dialogue between an atheist and death. Precisely for this reason Sören Kierkegaard proposed some penetrating analyzes of Mozart´s Don Giovanni in Enten Eller. The perfection of the libretto and the scores of Don Giovanni do not prevent a true aesthetic deepening of the drama. No intervention on the interweaving. However, to resolve the problematic matter of the conflict between the apparent joy of living and loving and the tragic threat, between erotic betrayals and the fatality of the last sentence, Death, wherever present in the music, either in Donna Elvira and Donna Anna’s arias or in Don Giovanni´s declaration of love, the whole play - not just the only scene that takes place there - is set in a crypt and a cemetery. All of the action is presented like a dream, perhaps dreamt by Sören Kierkegaard, who, reflecting on Mozart´s music and the tragic characters of the cast, brings out the protagonists from the tombs, from the funeral monuments (...). " (Giorgio Ferrara, René de Ceccatty)