Flash back on Mozart, Don Giovanni, Bastille(23-IX-15)

Opening of my season at pera Bastille with Mozart, a favourite of mine: Don Giovanni.
Here's the cast:
https://www.operadeparis.fr/saison-15-16/opera/don-giovanni
What made me travel to Paris with the cheapest  train ticket fare  available on the OUIGO I booked on the 30th of August ( otherwise the fares go up!) is :
Elvira sung for the first time by Karine Deshayes !
But not only, because I wanted to see the Haneke's production which was played  for the last time this season.
This modernised version has a very violent outlook which is more worrying than the transposition in an office hall with the lift jingle and an army of cleaners (the chorus plus Zerlina and Masetto) who wear Mikey Mouse's masks during the opera!
The violence is part of the opera of course, but in this production it is embodied in the acting of the couple Leporello-Don Giovanni. They both play with shining blades and have sexual assaults on women, the Don against the wall next to the lift with  Zerlina, and also on a woman who appears in her nude when a very violent Don Giovanni assaults her in the Mask scene. Leporello does like his master in the same scene. I know Haneke is a film -maker, but is it really necessary to go to such extent on an opera stage? It seems very crude and out of purpose, because the horror is in the music and the sung words, anyway.
Elvira has also a new look: she is not only humiliated here but becomes a murderer.
 She stabs Don Giovanni at the end, does not kill him but contributes to his death, overthrown by the cleaners through a window...  Elvira also finds  consolation in drinking and contributes to Don Giovanni's death to overcome her humiliation. It is perfectly played by Karine Deshayes with simplicity and straightforwardness. Her mezzo range and flexible tops suit her in this role. She is very touching.
Otherwise, I enjoyed the music and the singing tremendously . It was a fine Mozart evening at the orchestra and the conductor Patrick Lange had a nice tempo and reading of the scores. The ensembles were wonderful!
I particularly enjoyed Matthiew Polenzani's Ottavio. It was a sheer moment of musical beauty. His soft voice and quiet looks added truth to his character.
I enjoyed the musicality and vocal art of the cast and orchestra a lot that night.
Mozart was well served and it was a great night for the music in the pit and the singing on stage.
 The  unnecessary horror of the  staging of last scene made me close my eyes to rejoice only in the music!
Viva Elvira-Karine Deshayes! hope to see her more soon!