I reviewed the CD from the second season of this production (Virgin, 8/00). In 2002 Daniel Harding remained in the pit, and the Giovanni and Leporello continued as the mainstays of the cast. Four years after Harding had first conducted it, he had somewhat modified his helter-skelter reading, all for the better, while not losing its dynamic impetuosity. In any case, his view of the music rather seconds Peter Brook’s hard-headed ideas on its staging. There’s nothing here to occupy the eye beyond an orange floor, a few benches and some priapic-looking poles. They hardly convey any sense of place or purpose. We seem in a void, where the principals have to do everything to carry forward the plot.

You could say that is where Brook comes into his own; his direction is pointed and imaginative as he wants one to concentrate on relationships. This is a very tactile, erotically suggestive production, yet one that avoids the bêtises of some of Brook’s juniors (in an accompanying interview he abhors the jokery of current opera production), who make the sexual connotation too overt. Giovanni’s brutal handling of all the women in his life, and his very obvious frustration that he never gets his way with them during the course of the opera, is graphically depicted, as is their attitude, alternately fascinated and disgusted, towards him. But when it comes to the Commendatore’s reincarnation, there is little or no sense of terror.

Peter Mattei and Gilles Cachemaille, particularly the latter, remain the principal assets. Mattei is all macho energy and devil-may-care thrust, with little or no charm; a person whom, Brook observes, never thinks of the consequences of his actions. The interpretation is valid enough and he sings with an answering vigour and, when needed, seductive tone. Cachemaille’s puzzled, sometimes amused but more often pained Leporello is acted with nuance and sung with point off the text.

The tall, dignified and personable Alesxandra Deshorties makes an impressive Anna, acting with her whole body and singing with fiery tone and a deal of passion. Mireille Delunsch’s voice may be a size too small for Elvira but she suggests all the woman’s insane obsession with Giovanni, and sings ‘Mi tradì’ with exemplary control. As Ottavio, Mark Padmore’s white tone lacks the requisite Italianate warmth but he sings with style, adding neat decorations at the reprise of both his arias (incidentally, appoggiaturas are observed on all sides). Nathan Berg’s Masetto is well sung and acted with real feeling for the injury done him. Lisa Larsson, the original Zerlina, looks by 2002 too mature and sophisticated for the part. The Commendatore is no more than adequate.

The interview with Brook shows the old master making a good case for his approach, particularly as regards the ambivalence of the plot and its exploration of human feelings. A more traditional, in the best sense, DVD choice might be the Cologne production of 1991 by Michael Hampe, well conducted by James Conlon, with a fine cast led by the frighteningly possessed Giovanni of Thomas Allen.