The Midnight Angel (1993)
Opera Buffa in Two Acts
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte
English translation by Andrew Porter, commissioned by Opera Theatre of Saint Louis (1983)
Edited for the New Mozart Edition (Neue Mozart-Ausgabe) by Wolfgang Plath and Wolfgang Rehm.
By arrangement with Foreign Music Distributors for Barenreiter-Verlag, publisher and copyright owner.
The opera was first performed at the National Theatre in Prague on 28 October 1787.
The first performance of the revised version was given, by royal command, at the Burgtheater in Vienna on 7 May 1788.
Festival Stage Design by Derek McLane
Dates of Performance
May 22, 26, 28; June 3, 8, 13, 19 (matinée)
1993 Season
Cinderella   Don Giovanni
The Midnight Angel   Billy Budd
Photo Gallery
Cast
Thomas Barrett
Leporello
Christine Brewer
Donna Anna
Christopher Robertson
Don Giovanni
Scott Wilde
The Commendatore
Ian de Nolfo
Don Ottavio
Patricia Racette
Donna Elvira
Guiping Deng
Zerlina
Philip Cutlip
Masetto
Creative Team
Stephen Lord
Conductor
Giles Havergal
Stage Director
John Conklin
Set Designer
Lewis Brown
Costume Designer
Christopher Akerlind
Lighting Designer
Vicki L. Blake
Choreographer
Tom Watson
Wig Master & Makeup
Cary John Franklin
Chorus Master
Bruce Longworth
Fencing Coach
Ben Malensek
Repetiteur
Kimberley S. Prescott
Stage Manager
Eric Millner
Assistant Stage Manager
Andrew Saboe
Assistant Stage Manager
Synopsis
Don Giovanni’s servant, Leporello, waits outside the house of the Commendatore while his master, disguised, tries to seduce Donna Anna, the Commendatore’s daughter. Don Giovanni is surprised and, challenged by the Commendatore, kills him, and escapes.
The next day, while Anna and Ottavio are appealing t,) Don Giovanni for help in avenging her fathers murder, she thinks she recognizes his voice as that of her seducer. Her suspicions are confirmed by the arrival of Elvira, who has been left at the altar by Giovanni and has come to demand justice – but Leporello explains that her cause is hopeless. Giovanni, he says, has seduced at least two thousand other women.
In the meantime, Giovanni tries to detach Zerlina from her new husband, Masetto; to further his cause he invites them both to a ball at his palace. Ottavio, Anna and Elvira come masked to the ball to expose Giovanni; they succeed in interrupting his rape of Zerlina, but Giovanni escapes with Leporello,
Giovanni charges places with Leporello in the hope of seducing Elvira’s maid; Elvira herself, still pursuing justice, is deceived by the exchange. Giovanni’s serenade is interrupted by the vengeful Masetto and his friends who are determined to destroy the seducer; they mistake Giovanni for Leporello whom, until he unmasks, everyone now assumes to be the object of their vengeance.
Giovanni and Leporello hide in the churchyard where they are confronted by the spectral monument of the Commendatore. Giovanni invites him to dinner and Leporello is horrified when the Statue accepts the invitation.
Anna explains to Ottavio that because of the death of her father and the horror of recent events, it is impossible for the moment to consider their marriage.
Giovanni’s supper is interrupted first by the distracted Elvira and then by the Commendatores ghost: Giovanni must either repent or be damned. Giovanni refuses to repent and is dragged to Hell. The other characters comment wryly on the situation.

Opera Theatre extends profound thanks to the anonymous donor whose generosity has made this production possible.
Sets and costumes for Don Giovanni are underwritten in part by a major gift from Sally S. Levy, to whom Opera Theatre extends special thanks for her ongoing support and encouragement.
Mr. Lord’s appearance as conductor is made possible by a gift from Mr. & Mrs. Robert L Scharff Jr.
The services of the Saint Louis Symphony Orchestra are sponsored by Dr. Gene Spector, Ms. Barbara Messing, Mr. & Mrs. David Mesker, Dr. & Mrs. Richard Shaw, Mr. & Mrs. William B. Firestone, and Mr. J. C. McLaughlin.

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