Carmen at the Royal Opera House London January 3rd 2014

On Friday January 3^rd I made my way to the Royal Opera House in London for the first time to mark the start of my 75^th birthday year. I had only discovered late that there were performances over Christmas and the New Year of Carmen using the 2012 production which I had seen live in 3D and then purchased the DVD but although familiar with the set as well as the Opera which commenced in my childhood it was too good an opportunity miss if tickets were available, There were and for once paying a £150 plus for a ticket did not appear an extravagance.

I had witnessed the virtual rebuilding of the Opera House complex on visits to the former flower, fruit and vegetable market which had now become a tourist Mecca for shops and restaurants and free live entertainment a short walk from Trafalgar and Leicester Squares.

Arriving early only the bookshop and ticket office was open and purchasing a programme excellent value at £5 or less the shelves of DVDs and books were resisted. There was a goon queue of people waiting for the Paul Hamlyn Hall to open. “This is a large iron and glass structure adjacent to, and with direct access to, the main opera house building. Historically, it formed part of the old Covent Garden flower market, and is still commonly known as the 'floral hall', but it was absorbed into the Royal Opera House complex during the 90s redevelopment. The hall now acts as the atrium and main public area of the opera house, with a champagne bar, restaurant and other hospitality services, and also providing access to the main auditorium at all levels The redevelopment of the Floral Hall was originally made possible with a pledge of £10m from the philanthropist Alberto Vilar and for a number of years, it was known as the Vilar Floral Hall; however Vilar failed to make good his pledge. As a result, the name was changed in September 2005 to the Paul Hamlyn Hall, after the opera house received a donation of £10m from the estate of Paul Hamlyn, towards its education and development programmes. As well as acting as a main public area for performances in the main auditorium, the Paul Hamlyn Hall is also used for hosting a number of events, including private functions, dances, exhibitions, concerts, and workshops “

This formal Wikipedia description fails to convey the extraordinary nature of this building which reminds of a department store tea room in Paris, name forgotten. The open structure is half a dozen floors in height with at the top along side the main open area there is separate restaurant and bar area where on sofas we had drinks and watch the diners arrive until it was time to make our way downstairs again and into the Opera House proper which also the facade and main auditorium are substantial the same as before.

Again the formal note reads “Several renovations had taken place to parts of the house in the 1960s, including improvements to the amphitheatre but the theatre clearly needed a major overhaul. In 1975 the Labour government gave land adjacent to the Royal Opera House for a long-overdue modernisation, refurbishment, and extension. In the early 1980s the first part of a major renovation included an extension to the rear of the theatre on the James Street corner. The development added two new ballet studios, offices, a Chorus Rehearsal Room and the Opera Rehearsal room. Dressing rooms were also added.

By 1995, sufficient funds from the Arts Lottery through Arts Council England and private fundraising had been raised to enable the company to embark upon a major £213 million reconstruction of the building by Carillion, which took place between 1997 and 1999, under the chairmanship of Sir Angus Stirling. This involved the demolition of almost the whole site including several adjacent buildings to make room for a major increase in the size of the complex. The auditorium itself remained, but well over half of the complex is new. The design team was led by Jeremy Dixon and Edward Jones of Dixon Jones BDP as architects. The acoustic designers were Rob Harris and Jeremy Newton of Arup Acoustics. The building engineer was Arup with Stanhope as developer.

The new building has the same traditional horseshoe-shaped auditorium as before, but with greatly improved technical, rehearsal, office, and educational facilities, a new studio theatre called the Linbury Theatre, and much more public space. The venue is now claimed by the ROH to be the most modern theatre facility in Europe.

Subtitles, projected onto a screen above the proscenium, have been used for all opera performances since they were introduced in 1984. Since the reopening of the theatre in 1999 an electronic libretto system provides translations onto small video screens for some seats, and additional monitors and screens are to be introduced to other parts of the house.”

The overall outcome is a contrasting combination of contemporary luxury of the former floral hall to the glorious luxury of the traditional Opera auditorium unlike some of he almost start structure of other houses which have been seen via relays and TV and which include the Met in New York. Despite having over 2000 seats there is a feeling of intimacy especially in the stalls where we had seats to one side against the wall although thus prove excellent views where the facial expressions of the singers could be experienced although it was something of a neck crick to look up past the singers to sub titles high above. Knowing the story well I did not need these and sat back to enjoy the music and the voice.

Act 1 A square, in Seville. On the right, a door to the tobacco factory. At the back, a bridge. On the left, a guardhouse. A group of soldiers relaxes in the square, waiting for the changing of the guard and commenting on the passers-by ("Sur la place, chacun passe"). Micaëla appears, seeking José. Moralès tells her that "José is not yet on duty" and invites her to wait with them. She declines, saying she will return later. José arrives with the new guard, which is greeted and imitated by a crowd of urchins ("Avec la garde montante").

As the factory bell rings, the cigarette girls emerge and exchange banter with young men in the crowd ("La cloche a sonné"). Carmen enters and sings her provocative habanera on the untameable nature of love ("L'amour est un oiseau rebelle"). The men plead with her to choose a lover, and after some teasing she throws a flower to Don José, who thus far has been ignoring her but is now annoyed by her insolence.

As the women go back to the factory, Micaëla returns and gives José a letter and a kiss from his mother ("Parle-moi de ma mère!"). He reads that his mother wants him to return home and marry Micaëla, who retreats in shy embarrassment on learning this. Just as José declares that he is ready to heed his mother's wishes, the women stream from the factory in great agitation. Zuniga, the officer of the guard, learns that Carmen has attacked a woman with a knife. When challenged, Carmen answers with mocking defiance ("Tra la la... Coupe-moi, brûle-moi"); Zuniga orders José to tie her hands while he prepares the prison warrant. Left alone with José, Carmen beguiles him with a seguidilla, in which she sings of a night of dancing and passion with her lover—whoever that may be—in Lillas Pastia's tavern. Confused yet mesmerised, José agrees to free her hands; as she is led away she pushes her escort to the ground and runs off laughing. José is arrested for dereliction of duty.

Act 2

Lillas Pastia's Inn

A month has passed. Carmen and her friends Frasquita and Mercédès are entertaining Zuniga and other officers ("Les tringles des sistres tintaient") in Pastia's inn. Carmen is delighted to learn of José's release from a month's detention. Outside, a chorus and procession announces the arrival of the toreador Escamillo ("Vivat, vivat le Toréro"). Invited inside, he introduces himself with his "Toreador Song" ("Votre toast, je peux vous le rendre") and sets his sights on Carmen, who brushes him aside. Lillas Pastia hustles the crowds and the soldiers away.

When only Carmen, Frasquita and Mercédès remain, the smugglers Dancaïre and Remendado arrive and reveal their plans to dispose of some recently acquired contraband ("Nous avons en tête une affaire"). Frasquita and Mercédès are keen to help them, but Carmen refuses, since she wishes to wait for José. After the smugglers leave, José arrives. Carmen treats him to a private exotic dance ("Je vais danser en votre honneur ... La la la"), but her song is joined by a distant bugle call from the barracks. When José says he must return to duty, she mocks him, and he answers by showing her the flower that she threw to him in the square ("La fleur que tu m'avais jetée"). Unconvinced, Carmen demands he shows his love by leaving with her. José refuses to desert, but as he prepares to depart, Zuniga enters looking for Carmen. He and José fight, and are separated by the returning smugglers, who restrain Zuniga. Having attacked a superior officer, José now has no choice but to join Carmen and the smugglers ("Suis-nous à travers la campagne").

Act 3

A wild spot close to the border with Gibraltar. Carmen and José enter with the smugglers and their booty ("Écoute, écoute, compagnons"); Carmen has now become bored with José and tells him scornfully that he should go back to his mother. Frasquita and Mercédès amuse themselves by reading their fortunes from the cards; Carmen joins them and finds that the cards are foretelling her death, and José's. The women depart to suborn the customs officers who are watching the locality. José is placed on guard duty.

Micaëla enters with a guide, seeking José and determined to rescue him from Carmen ("Je dis que rien ne m'épouvante"). On hearing a gunshot she hides in fear; it is José, who has fired at an intruder who proves to be Escamillo. José's pleasure at meeting the bullfighter turns to anger when Escamillo declares his infatuation with Carmen. The pair fight ("Je suis Escamillo, toréro de Grenade"), but are interrupted by the returning smugglers and girls ("Holà, holà José"). As Escamillo leaves he invites everyone to his next bullfight in Seville. Micaëla is discovered; at first, José will not leave with her despite Carmen's mockery, but he agrees to go when told that his mother is dying. As he departs, vowing he will return, Escamillo is heard in the distance, singing the toreador's song

.

Act 4

A square in Seville. At the back, the walls of an ancient amphitheatre Zuniga, Frasquita and Mercédès are among the crowd awaiting the arrival of the bullfighters ("Les voici ! Voici la quadrille!"). Escamillo enters with Carmen, and they express their mutual love ("Si tu m'aimes, Carmen"). As Escamillo goes into the arena, Frasquita warns Carmen that José is nearby, but Carmen is unafraid and willing to speak to him. Alone, she is confronted by the desperate José ("C'est toi ! C'est moi !"). While he pleads vainly for her to return to him, cheers are heard from the arena. As José makes his last entreaty, Carmen contemptuously throws down the ring he gave her and attempts to enter the arena. He then stabs her, and as Escamillo is acclaimed by the crowds, Carmen dies. José kneels and sings "Ah! Carmen! ma Carmen adorée!"; as the crowd exits the arena, José confesses to killing the woman he loved.

In terms of performances the star of the evening was Veronica Cangemi, the most convincing Michaela I have experienced and who generated the great applause appreciation from the audience at the end. I cannot find an English biog but she appears to have concentrated on Vivaldi, Mozart Handel and others rather than grand Opera.

“Verónica Cangemi (*10 de octubre 1964) es una soprano argentina nacida en Mendoza de amplia trayectoria en Europa especialmente en el área de la música barroca y de práctica informada. Se inició como cellista, posteriormente como cantante ganó el Concurso Francisco Viñas en Barcelona, perfeccionándose con la soprano británica Heather Harper.En 1993 debutó en el Teatro Colón como Zerlina en Don Giovanni y actuó como Pamina en La flauta mágica en 1996.Actúa regularmente en París, Florencia, Múnich , Berlín , Madrid Glyndebourne, Salzburg, Graz, Innsbruck, Montreaux, Würzburg, Ludwigsburg, Ámsterdam, Montpelier, San Francisco y Lisboa.”En 2009 obtuvo el Diploma al Mérito de los Premio Konex como una de las 5 mejores cantantes de música clásica de la década 1999-2008 en la Argentina.

I am also fan of Roberto AlgnaRoberto Alagna (Clichy-sous-Bois, 7 de junio de 1963) es un cantante de ópera francés, con registro de tenor. Proviene de una familia de emigrantes sicilianos. Comenzó a cantar muy joven en cabarets parisinos. Influido por las películas de Mario Lanza y las grabaciones de tenores históricos, cambió a la ópera. Es un cantante básicamente autodidacta, aprendió la mayor parte de su repertorio del contrabajista cubano y aficionado a la ópera, Rafael Ruiz.

Después de ganar el Concurso Vocal Luciano Pavarotti, Alagna debutó profesionalmente en 1988 como Alfredo Germont en La Traviata con la compañía del Festival de Glyndebourne. Esto llevó a muchos compromisos en ciudades pequeñas de Francia e Italia, principalmente como Alfredo, un rol que ha cantado más de 150 veces.

Creció su reputación y pronto fue invitado a cantar en los grandes teatros como La Scala (de nuevo como Alfredo, bajo la batuta de Riccardo Muti) en 1990, Covent Garden en 1992 y en la Metropolitan Opera como Rodolfo en La Bohème.

Sus interpretaciones de Romeo en Romeo y Julieta de Charles Gounod en Covent Garden en 1994 lo catapultaron al estrellato internacional.

Alagna ha desarrollado una particular afinidad por la ópera francesa y los papeles italianos más líricos, aunque algunos observadores muestran preocupación para asumir un repertorio italiano progresivamente más dramáticos, como el rol titular de Otello.

Su primera esposa, Florence Lancien, murió de tumor cerebral en 1994; tenían una hija, Ornella, nacida en 1992.

En 1996 se casó con la soprano Angela Gheorghiu. La pareja ha cantado junta en muchas ocasiones en el escenario y en grabaciones juntos de duetos, arias y óperas completas. Los dos cantantes protagonizaron también la versión fílmica de la ópera de Puccini Tosca dirigida por el francés Benoît Jacquot. Se separaron en 2009.

Alagna abrió la temporada 2006-07 en La Scala el 7 de diciembre de 2006 con la nueva producción de Aida de Franco Zeffirelli. Al comienzo de la segunda representación (10 de diciembre de 2006) fue abucheado y silbado por el público sentado en el loggione (aficionados a la ópera que se sientan en los lugares más baratos de la Scala). El tenor abandonó el escenario. El papel de Radamés fue asumido inmediatamente por Antonello Palombi, que entró en el escenario vestido de calle, con vaqueros y camisa. Más tarde, Alagna se disculpó aduciendo que quiso volver a entrar, aunque Palombi no le dejó.

Luego de fallidos intentos en los años 90, en 2012 finalmente debutó en el Teatro Colón de Buenos Aires en un recital junto a Angela Gheorghiu.

También ha grabado un disco dedicado al legendario cantante español Luis Mariano.

Fue condecorado con la orden de la Legión de honor

Anna Caterina Antonacci was excellent as Carmen but no one can compare with the performance of Christine Rice who I would travel far and wide to see live.

I first saw Carmen as an adolescent live locally when I then lived but cannot remember if I have seen live before the ROH visit. I have view and recorded three shortened version of around 90 mins several decades ago as well as the productions at the Met. There is of course also Carmen Jones the Film where I still have the original gramophone record.

Don Giovanni relayed live from ROH

recorded. I cannot recall knowing much about the Mozart Opera Don Giovanni which I experienced for the first time on relay from the Royal Opera House on Wednesday evening , a cold and windy evening where I arrived in something of rush only to learn that the winds was affecting the world wide relay and that interruptions could be anticipation. During there first half of the opera there were three breaks, fortunately of no longer than 3mins and a lost of the subtitles in two instances. The management rallied providing little cups of chocolate during the intervals was not hot and I did not enjoy but then issues a free pass in compensation for another event of similar cost which was splendid..

The opera is extraordinary with eight principal roles and in true Mozart style there are several instance where almost everyone is involved in groups, in couples in quick succession so while there are no great aria compared to Puccini, Verdi one sits marvelling at times overwhelmed. For once at least six of the singers had the physique and were of an age to reflect the roles they were playing and the other two were passable, The set was also one of the most extraordinary if not the lost extraordinary and created experienced. A mansion on several floors which revolves close to tee front of the stage and upon which thee are constant projections throughout successfully reflecting the mind of Don Giovanna based on the legend of Don Juan supposed taking to his bed, so to speak over 2000 women of all ages and descriptions during his short life before he is left in the hell of isolation. The first act lasts 95 mins and the second 85 with only 35 mins in between with a good introduction before and during the interval by the Welsh baritone Bryn Terfel

“Mozart’s Don Giovanni – first staged in 1787 – offers boundless scope for directors. Kasper Holten offers a new interpretation that foregrounds the theme of imagination. Don Giovanni is cast as an artist who seduces an endless stream of women through his ability to create wonderful illusions. His catalogue of sexual conquests is a vain attempt to escape his own mortality and comes at a high price.

Holten presents an exciting visual universe that ranges from colourful comedy to exhilarating drama. Set designs by Es Devlin – who was most recently at Covent Garden with Les Troyens – and costume designs by Anja Vang Kragh (Stella McCartney, John Galliano, Christian Dior) complete an impressive creative team. The production highlights the beauty and invention of Mozart’s dazzling score, which ranges from gorgeous arias and dramatic duets to the brilliant layering of dance melodies that bring Act I to a virtuoso close! From the ROH site

And from Wikipedia, Leporello, Don Giovanni's servant, complains of his lot ("Notte e giorno faticar" – "Night and day I slave away"). He is keeping watch while Don Giovanni rapes or seduces the Commendatore's daughter, Donna Anna. When the two appear, Giovanni is masked and Donna Anna is holding onto his arm. Something has happened and she insists on knowing his true identity (Trio: "Non sperar, se non m'uccidi, Ch'io ti lasci fuggir mai!" – "Do not hope, unless you kill me, that I shall ever let you run away!"); before he can break free from her grasp she cries for help. The Commendatore appears and forces Giovanni to fight a duel. Donna Anna flees into the house. Giovanni kills the Commendatore with his sword and escapes with Leporello. Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Ottavio swear vengeance against the unknown murderer. (Duet: "Ah, vendicar, se il puoi, giura quel sangue ognor!" – "Ah, swear to avenge that blood if you can!").

Scene 2 – A public square outside Don Giovanni's palace

Giovanni and Leporello arrive and hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking to wreak her revenge ("Ah, chi mi dice mai" – "Ah, who could ever tell me"). Giovanni starts to flirt with her, but he is the wretch she is seeking. He shoves Leporello forward, ordering him to tell Elvira the truth, and then hurries away.

Leporello tells Elvira that Don Giovanni is not worth it. His conquests include 640 in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 ("Madamina, il catalogo è questo" – "My dear lady, this is the catalogue"). In a frequently cut recitative, Elvira vows vengeance.

They leave, and a marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Giovanni is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Giovanni means to remain behind with Zerlina, Masetto becomes angry ("Ho capito! Signor, sì" – "I understand! Yes, my lord!"). Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: "Là ci darem la mano" – "There we will entwine our hands").

Elvira arrives and thwarts the seduction ("Ah, fuggi il traditor" – "Flee from the traitor!"). She leaves with Zerlina. Ottavio and Anna enter, plotting vengeance on the still unknown murderer of Anna's father. Anna, unaware that she is speaking to the attacker, pleads for Giovanni's help. Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Elvira returns and tells Anna and Ottavio that Giovanni is a false-hearted seducer. Giovanni tries to convince Ottavio and Anna that Elvira is insane (Quartet: "Non ti fidar, o misera" – "Don't trust him, oh sad one"). As Giovanni leaves, Anna suddenly recognizes him as her father's murderer (Anna aria: "Or sai chi l'onore Rapire a me volse" – "Now you know who wanted to rob me of my honour"). Ottavio, not convinced, resolves to keep an eye on his friend ("Dalla sua pace la mia dipende" – "On her peace my peace depends").

Leporello informs Giovanni that all the guests of the peasant wedding are in Giovanni's house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party and invite every girl he can find. (Giovanni's "Champagne Aria": "Fin ch'han dal vino calda la testa" – "Till they are tipsy"). They hasten to his palace.

Zerlina follows the jealous Masetto and tries to pacify him ("Batti, batti o bel Masetto" – "Beat, O beat me, handsome Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue the seduction, until he stumbles upon Masetto's hiding place. Confused but quickly recovering, Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Giovanni then leads both to his ballroom, which has been lavishly decorated. Leporello invites three masked guests to the party: the disguised Ottavio, Anna, and Elvira. Ottavio and Anna pray for protection, Elvira for vengeance (Trio: "Protegga il giusto cielo" – "May the just heavens protect us").

Scene 3 – Finale: Ballroom As the merriment, featuring two separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room. When Zerlina screams for help, Don Giovanni tries to fool the onlookers by dragging Leporello into the room and threatening to kill him for assaulting Zerlina. But Ottavio produces a pistol, and the three guests unmask and declare that they know all. But despite being denounced on all sides, Don Giovanni escapes – for the moment.

Act 2

Scene 1 – Outside Elvira's house

Leporello threatens to leave Giovanni, but his master calms him with a peace offering of money (Duet: "Eh via buffone" – "Go on, fool"). Wanting to seduce Elvira's maid, Giovanni persuades Leporello to exchange cloak and hat with him. Elvira comes to her window (Trio: "Ah taci, ingiusto core" – "Ah, be quiet unjust heart"). Seeing an opportunity for a game, Giovanni hides and sends Leporello out in the open dressed as Giovanni. From his hiding place Giovanni sings a promise of repentance, expressing a desire to return to her, while Leporello poses as Giovanni and tries to keep from laughing. Elvira is convinced and descends to the street. Leporello, continuing to pose as Giovanni, leads her away to keep her occupied while Giovanni serenades her maid with his mandolin. ("Deh vieni alla finestra" – "Ah, come to the window").

Before Giovanni can complete his seduction of the maid, Masetto and his friends arrive, searching for Giovanni with the intent of killing him. Giovanni (dressed as Leporello) convinces the posse that he also hates Giovanni, and joins the hunt. After cunningly dispersing Masetto's friends (Giovanni aria: "Metà di voi qua vadano" – "Half of you go this way"), Giovanni takes Masetto's weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto ("Vedrai carino" – "You'll see, dear one").

Scene 2 – A dark courtyard

Leporello abandons Elvira. (Sextet: "Sola, sola in buio loco" – "All alone in this dark place"). As he tries to escape, Ottavio arrives with Anna, consoling her in her grief. Just as Leporello is about to slip through the door, which he has difficulty finding, Zerlina and Masetto open it and, seeing him dressed as Giovanni, catch him before he can escape. When Anna and Ottavio notice what is going on, all move to surround Leporello, threatening him with death. Elvira tries to protect the man who she thinks is Giovanni, claiming that he is her husband and begging for pity. The other four are resolved to punish the traitor, but Leporello removes his cloak to reveal his true identity. He begs everyone's forgiveness and, seeing an opportunity, runs off (Leporello aria: "Ah pietà signori miei" – "Ah, have mercy, my lords"). Given the circumstances, Ottavio is convinced that Giovanni was the murderer of Donna Anna's father (the deceased Commendatore) and swears vengeance ("Il mio tesoro" – "My treasure" – though in the Vienna version this was cut).[16] Elvira is still furious at Giovanni for betraying her, but she also feels sorry for him. ("Mi tradì quell'alma ingrata" – "That ungrateful wretch betrayed me").

Scene 3 – A graveyard with the statue of the Commendatore. Leporello tells Don Giovanni of his brush with danger, and Giovanni taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello's girlfriends. But the servant is not amused, suggesting it could have been his wife, and Don Giovanni laughs aloud at his servant's protests. The voice of the statue warns Giovanni that his laughter will not last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue's base: "Here am I waiting for revenge against the sacrilegious one who gave me death" (Dell'empio che mi trasse al passo estremo qui attendo la vendetta). The servant trembles, but the unabashed Giovanni orders him to invite the statue to dinner, threatening to kill him if he does not. Leporello makes several attempts to invite the statue to dinner but for fear cannot complete the task (Duet: "O, statua gentilissima" – "Oh most kind statue"). It falls upon Don Giovanni himself to complete the invitation, thereby sealing his own doom. Much to his surprise, the statue nods its head and responds affirmatively.

Scene 4 – Donna Anna's room.

Ottavio pressures Anna to marry him, but she thinks it inappropriate so soon after her father's death. He accuses her of being cruel, and she assures him that she loves him, and is faithful ("Non mi dir" – "Tell me not").

Scene 5 – Don Giovanni's chambers

Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays then-contemporary late-18th-century operatic music: "O quanto in sì bel giubilo" from Vicente Martín y Soler's Una cosa rara (1786), "Come un agnello" from Giuseppe Sarti's Fra i due litiganti il terzo gode (1782) and finally, "Non più andrai" from Mozart's own The Marriage of Figaro (1786).[17] (Finale "Già la mensa preparata" – "Already the table is prepared"). Elvira appears, saying that she no longer feels resentment for Giovanni, only pity. ("L'ultima prova dell'amor mio" – "The final proof of my love"). Surprised by her lack of hatred, Giovanni asks what it is that she wants, and she begs him to change his life. Giovanni taunts her and then turns away, praising wine and women as the "support and glory of humankind" (sostegno e gloria d'umanità). Hurt and angered, Elvira gives up and leaves. A moment later, her scream is heard from outside the walls of the palace, and she returns only to flee through another door. Giovanni orders Leporello to see what has upset her; upon peering outside, the servant also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Giovanni opens it himself, revealing the statue of the Commendatore. With the D minor music from the overture now accompanying the bass voice ("Don Giovanni! A cenar teco m'invitasti" – "Don Giovanni! You invited me to dine with you"), the Commendatore offers a last chance to repent, but Giovanni adamantly refuses. The statue sinks into the earth and drags Giovanni down with him. Hellfire, and a chorus of demons, surround Don Giovanni as he is carried below.

Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. Giovanni is dead. Anna and Ottavio will marry when Anna's year of mourning is over; Elvira will spend the rest of her life in a convent; Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master.

The concluding ensemble delivers the moral of the opera – "Such is the end of the evildoer: the death of a sinner always reflects his life" ("Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual"). In the past, the final ensemble was sometimes omitted by conductors (such as Gustav Mahler) who claimed that the opera should end when the title character dies. However, this approach has not survived, and today's conductors almost always include the finale in its entirety. The return to D major and the innocent simplicity of the last few bars conclude the opera. “