‘John Pascoe’s production looked simultaneously elegant and hip, complemented by imaginative costumes that give off a time-travelling hint of a Doctor Who episode.’

‘If there is an unequivocal argument for continuing to produce big classical opera as part of Washington National Opera’s mission, then Pascoe’s production of Don Giovanni makes the case. Highly recommended’

‘Opera updates often fail, but John Pascoe’s production allowed Don Giovanni to inflict his atrocities on Franco-era Spain – and it succeeded brilliantly.’

‘Pascoe’s brilliant and original concept, loaded with insight and imagination, succeeds not only in realising the surface of the vision of Mozart and Da Ponte, but in exploring the psychological underpinnings that have made this opera one of the landmarks of European culture.’

‘There seems to be a coherence to this Don Giovanni that allows the whole production to gel beautifully. The energy and physicality of each character, and the defining staging given to them was believable from the first moment through to the last.’

‘Cast, orchestra and director delivered in the big moments. The early scene in which Donna Anna and Don Ottavio swear to avenge her father’s murder had a breathless, edgy momentum.’

‘Director John Pascoe added interesting touches. I have never seen a baby in Don Giovanni before, for example, but there’s Donna Elvira, one of the Don’s former conquests, showing up with one in her first scene in the piazza. This cleverly shows the consequences of the Don’s actions.’

‘The Franco era turns out to be a credible period for the Don’s atrocities. The famous rake appears decked out like a field marshal, with epaulets and rows of medals, clearly an officer whose high rank … allows him to make his way through the world …’

‘A freshly absorbing encounter with one of the most familiar works in the repertoire … Pascoe knows how to get a cast uniformly not just into character, but into the essence of an opera. He also knows how to keep an opera entertaining.’

‘Any director who cares enough about an opera to make a real story out of it, rather than just moving singers around the stage, gets sympathy from me, and Pascoe had good ideas, notably the palpable attraction between Giovanni and Donna Elvira.’

‘Pascoe’s Donna Elvira is not just another lover, but the woman who truly loves Giovanni and whom he truly loves, if only he could pull himself together and grow up. Even as Elvira berates him, she is also kissing him.’

‘A character in the musical Nine is described as “a mixture of Catholicism, pasta and pornography.” The phrase could just as easily apply to Pascoe’s Pulp Fiction-like interpretation. A rollicking, Dadaist take on Mozart’s dark, dreamy comedy-drama’

‘Tragedy, comedy, melodrama, farce. They’re highlighted in John Pascoe’s stunning production of Don Giovanni at the Washington National Opera. But Pascoe also emphasises a subtler dimension: the context of Giovanni’s life, using Mozart’s music to deepen the central narrative’

‘Pascoe kept the stage filled with something interesting to see. In addition to the occasional stately procession of the ordained, atmospheric extras walked across the stage and posed in groups. All this action proved to be a welcome change to what can be a highly static opera.’

‘The characters are beautifully costumed in colourful peasant garb … Even the traditional dances of Mozart’s period, the minuet and allemande, are transformed into fiery flamenco’

‘Pascoe did almost everything, including sets, costumes, and direction. The sets had a surrealist basis with a soupçon of Fellini. The costumes were timeless but effective and helped develop the characters.’

‘Pascoe’s Don Giovanni fills the opera house with unexpected memorable imagery. It is a revitalised comic treasure with depth and powerful emotion … This opera not only seduces, it sings.’

‘Some of Pascoe’s stage pictures – a moody church scene, for example – are as enchanting in their own way as the music.’

‘Meagan Miller’s Donna Anna looks fabulous in some of Pascoe’s most elegant costumes (one of her hats would be quite a hit at Ascot).’

‘Much of the evening’s power came from Pascoe, who, in addition to drawing a well-coordinated response from the cast, managed a deftly nuanced balance between humorous and tragic elements’

‘Everyone on stage nailed an easily identifiable personage … Pascoe knew what he wanted to get across with this story and these people. And he did.’

‘What we’re offered is a palette of complications paced close to perfection by director John Pascoe. He puts you right in the action – and there is a lot of action.’

‘One of the most exciting productions you are likely to see anywhere … The staging is impeccable, the singers are top-notch, the costumes, the lighting, the dancing, and the music – all pitch perfect. All of this exploding talent on stage was guided with a sure hand by director and production designer John Pascoe. ‘

‘This is a tragic comedy or comedic tragedy. It is a combo that is very difficult to mount for it swings from one to the other quite a few times. Only experts should tackle it, and Pascoe proves his mastery.’

‘John Pascoe managed to stage a world of fantasy in which this opera unfolds. He continued his brilliance with the ghastly cemetery scene late in Act II.’

‘The Catholic church, virtually absent in the original libretto, constantly emerges in the background, most often in neat little parades of nuns or priests, or in the towering statues of the Virgin and Child, echoed in the tragicomic addition of an infant in the arms of the Donna Elvira.’

‘British-born Pascoe, a man with thirty years’ experience in opera, has brought a Giovanni both beautiful and musically fulfilling to Washington National Opera.’

‘Right now, there’s still time to see the Pascoe/ Washington National Opera company’s superb, bracing production of Don Giovanni and it’s really, really worth it, whether you’ve seen it a hundred times or never, whether you’ve got all the time in the world or the clock is running out.’

‘John Pascoe’s production is a marvel. The greatest compliment was from several first time opera- goers saying that they never knew opera could be so exciting.’

‘One sits for three hours as if facing a headwind that blows with passionate velocity from stage and orchestra pit’

‘Morris Robinson’s chilling return as the Stone Guest is the highlight of a marvellously graphic finale’

‘Vibrant and tantalising … a Don Giovanni unhinged in time, floating in a dream world, where epochs collide in the realm of the subconscious. Costumes, emboldened by oversized epaulets and other symbols of power, emphasise sexuality and hierarchy.’

‘Washington National Opera’s thoroughly engaging production reminds you why the piece has always occupied a high ranking among musical works for the stage’