On October 4, Ekaterina Bakanova opens the 2025/26 season of the Teatro de la Maestranza in Seville, appearing as Donna Anna in a new production of Don Giovanni directed by Cecilia Ligorio and conducted by Iván López-Reynoso. She shares the stage with Alessio Arduini in the title role, David Menéndez as Leporello, Julie Boulianne as Donna Elvira, Marina Monzó as Zerlina, Marco Ciaponi as Don Ottavio, George Anguladze as the Commendatore, and Ricardo Seguel as Masetto. Further performances are scheduled for October 8 and 11.

Celebrated for her compelling portrayals of Mozart heroines, the Russian-born soprano has already earned wide acclaim as Donna Anna on major international stages. In 2015, she was honored with the “Best Debuting Singer” award at the Arena di Verona for this very role. Looking ahead, she will debut as the Contessa in Le nozze di Figaro at the Teatro Verdi in Trieste this November.

[Photo: Enrico De Luigi]

More information about Ekaterina Bakanova:

Operabase – Ekaterina Bakanova

Instagram – Ekaterina Bakanova

Website – Ekaterina Bakanova

About the Production:

Knowledgeable voices claim that Cherubino and Don Giovanni are the same person. The page who won the hearts of all the women in The Marriage of Figaro returned from the wars corrupted and disenchanted, transformed into the amoral and dissolute libertine who – according to his servant Leporello- listed more than 1000 conquests in his personal catalogue.

Each one responded to his basic instinct beneath the sky of Sevilla. In Sevilla the adolescent discovered his irresistible predisposition, in Sevilla the ground to hell opened to punish the impertinence of the libertine. Between one opera and the other, the gentle light which illuminated The Marriage of Figaro has become the dead of night in Don Giovanni, the perfumed air of a patio in Sevilla is poisoned among gravestones and pantheons.

If as a man, Don Juan is lamentable, as a myth he is irresistible. Mozart and Da Ponte were not the first, but they were decisive in the crystallization of the character. So much so, that any other view must be measured with the opera that Prague applauded in its 1787 premiere, and which the audience in Vienna in 1788 was unable to grasp in its version with a moral.

The idea of Stage Director Cecilia Ligorio, which met with success at the Cologne Opera, focuses on the elusive identity of the character who can only be defeated by the powers of the beyond. And by the supreme dignity of the women who Don Juan ridicules in his descent to hell. Women who, although they appear in his catalogue, loved neither the conquistador nor the man.

Have a look at our news: https://o-pr.net/news/

Home