Despite its relocation from mid-17th century Seville to the catacombs of Vienna in the early 1900s, John Lloyd Wood’s realisation of Mozart’s perennially popular morality tale is a gratifyingly conventional affair. One in which the anti-hero, in the director’s own words, is concerned more about his masculine identity than the women he seduces. In asserting his own masculinity, his primary concern is not sexual gratification but the humiliation of The Commendatore, Don Ottavio and Masetto.

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