The story of Don Giovanni, a man obsessed with seduction and power, has taken on new significance in light of modern movements like #MeToo and #TimesUp, which have brought attention to issues of sexual misconduct and gender dynamics. A 2014 production of Mozart’s opera, directed by Kaspar Holten, has been revived with care and clarity by Greg Eldridge. While the staging is not set in modern times—costumes and sets suggest a period between 1850 and 1900—the themes of the opera resonate strongly with today’s conversations about power and abuse. However, the production has moments of inconsistency, making it both compelling and occasionally frustrating for the audience. The production opens with a powerful visual and musical statement. The overture is not just a musical prelude but a visual spectacle, with projections of names and symbols that hint at Don Giovanni’s history of seduction and conquest. Throughout the opera, projections of scribbles, ink blots, and blood splatter the stage and performers, adding a layer of psychological tension. In the famous Champagne Aria, the set rotates rapidly, creating a dizzying effect that mirrors the Don’s inner chaos. The lighting design by Bruno Poet ensures that these visual elements enhance rather than distract from the performance. The director, Holten, focuses heavily on the title character, showing his descent into madness and isolation. Early in the opera, the Don is haunted by the ghosts of his past lovers, and by the end, these phantoms multiply, symbolizing his growing detachment from reality. Even Leporello, his servant, becomes one of the ghosts, his face pale and lifeless. The opera ends not with a dramatic descent to hell, but with the Don left alone and deprived of the sexual gratification he craves, a fitting punishment for his actions. However, the portrayal of the women in the opera is less successful. Some characters, like Donna Anna, are left underdeveloped, and others, like Donna Elvira, share similar emotional arcs, reducing their individuality. The cast delivers strong performances, with Gordon Bintner as Don Giovanni bringing a jaded charm and powerful voice to the role. Roberto Tagliavini’s Leporello provides a solid contrast with his robust, weary presence. Aigul Akhmetshina shines as Donna Elvira, offering both emotional depth and vocal strength. Other notable performances include Rachel Willis-Sørensen as Donna Anna, Bogdan Volkov as Don Ottavio, and Giulia Semenzato as Zerlina. Stefano Montanari conducts the orchestra with energy and attention to the vocal lines, though there were occasional issues with coordination between the pit and the stage.