In resonance with Don Juan

Aside from the sound, music reverberates. One thing is what the ear perceives, something quite different is what reaches into our conscience. In the first instance, Don Giovanni has sounded the same for centuries, but the reality is at each performance and for each spectator it resonates differently.

While Carmen Díaz de Mendoza Aguado, Countess of San Luis, attended the umpteenth performance of this classic title, she realised that something in the process was not working. Her personal sound box had not vibrated at the same frequency.That Don Juan of Mozart y Da Ponte said nothing to her.

In the Don Juan that she wrote, and was rejected by the audience at its premiere, what reverberates is the author and the times in which she lived. For today’s creator who, more than a century later, decides to recuperate this unique work, it will not be easy to find again the stamp of her predecessor, pushed into a shared oblivion with so many others.

In the opera Don Juan no existe, the music of Helena Cánovas, with a libretto by Alberto Iglesias, is a sounding board for those women whom the history of artistic creation left abandoned on the shore. A coproduction of the Teatro de la Maestranza with the Festival Perelada (Catalonia) and the Gran Teatre del Liceu (Barcelona).With the participation of the Teatro Real and Teatros del Canal (Madrid).

Opera in two acts by Helena Cánovas
Libretto by Alberto Iglesias
Premiere 8 August 2024 at the Festival Perelada (Catalonia, Spain)
First time in the Teatro de la Maestranza season programme

The performances of this opera will take place at the Real Fábrica de Artillería de Sevilla, tickets can be bought online through ICAS. (Institute of Culture and the Arts of Sevilla)