DON Juan is the kind of morality tale that one might have hoped would have lost some of its relevance by now. Nevertheless, as cultures of objectification, abuse and rape continue to abound, Mozart’s take on the legendary lothario remains as pertinent as ever.

Director Lloyd Wood’s stated intent to explore the drama’s masculine identities in this new English Touring Opera production might well grant fresh perspectives on these issues, even if it perhaps risks underestimating the depth of its female characters. Ania Jeruc certainly succeeded in delivering an engagingly complex Donna Elvira, while Lucy Hall deployed a conflicted Zerlina with commitment.

Wood’s relocation of the opera from Seville to the poverty-stricken underworld of turn-of-the-century Vienna, however, proved something of a masterstroke. Just as hints of a Klimt-esque sheen could not disguise the murky sewer backdrop, so the deftly deployed comedy of Nicholas Lester (Don Giovanni) and Matthew Stiff (Leporello) failed to conceal its unshakably creepy implications.

Jeremy Sams’ translation skillfully retained Da Ponte’s compelling juxtapositions of humour and violence.

Musically speaking, this was a feast for the ears. A notably strong cast delivered a string of refined performances with impressively clear diction, supported by a pristine orchestral performance under the baton of John Andrews.

Mozart’s remarkable music continues to beguile and shock in equal measure, but so does the drama it underpins. "Just art" it may be – but so long as it persists in mirroring a dark reality, we shall continue to need art like Don Giovanni.

Review by Richard Powell