Though innocent until proven guilty, Sean “Diddy” Combs currently reigns as America’s poster boy for drug orgies and forced seductions of young women and girls — an American Don Juan (Don Giovanni in ...

There are so many ways to play the title character in Mozart’s Don Giovanni. Bass-baritone Luca Pisaroni knows this firsthand because he’s been in 120 performances spread over 13 different productions ...

The Friday night opening of Houston Grand Opera’s "Don Giovanni," which runs through May 3, brought back the joint production of the HGO with Royal Opera House-Covent Garden, Gran Teatre del Liceu and ...

What happens when you mix an 18th century classical opera with 1980s Wall Street? “A night of debauchery,” says Ben Cohen, the director of Vegas City Opera’s Don Giovanni. “The whole opera is taking ...

At the Overture Center, resident organization Madison Opera brings the salacious womanizer Don Giovanni back to Madison for the first time in 12 years. A Mozart opera written in 1787, the show has ...

Widely regarded as the greatest opera ever composed, Don Giovanni tells of the devious schemes and hijinks of history’s most beguiling scoundrel, Don Juan. Mozart’s anti-hero has a personality so ...

What makes the scoundrel protagonist of Mozart's opera "Don Giovanni" so fascinating to watch? He's a thoroughly bad man — not just a seducer of women, but someone who assaults them, too. Don G is ...

Performances in N.Y.C. Advertisement Supported by Critic’s Pick Ivo van Hove’s stark production of Mozart’s classic has returned to the Metropolitan Opera with a uniformly excellent cast. By Joshua ...

You see a movie you haven’t seen in years, and there’s that one scene that brings on the “Oh, I remember now!” epiphany. We had that at Linda Rondstadt Music Hall on Saturday, April 27, when Arizona ...

Baritone vocalist Brian James Myer, who plays the titular role of this opera production, agrees. He is more than familiar with the source material, having thrice played Masetto (Zerlina’s jealous ...

In Berlin, the director Kirill Serebrennikov’s new production dispenses with the opera’s final sextet and leads directly into Mozart’s Requiem. By Ben Miller Reporting from Berlin Partway through the ...