When Don Giovanni, 'a young knight, a true libertine' according to Da Ponte's libretto, was entering the private chambers of Donna Anna at a late hour in an attempt to impose upon her his amorous advances as he was accustomed to doing during his free time, he did not know that he was setting a mechanism in motion that would put an end to his profligate ways in the very near future. The frustrated encounter is followed by a murder, an unfortunate meeting with one of his recently abandoned women, a flirting game with a seductive country girl in the presence of her fiance, a banquet that is organised in order to facilitate a rape attempt which ends pitifully, a visit to a cemetery, talking to a tombstone, inviting a dead person to dinner and being swallowed up by the flames of hell. 'Just like heterophot bodies in a solar system, of which only one side is illuminated by the light form the sun in the centre, only one side of the characters in this play are also illuminated, the one turned towards Don Giovanni. Only one aspect of their life is illuminated, the rest are dark and invisible', S. Kierkegaard wrote, who worshipped and was an avid listener of "Don Giovanni" by Mozart. The life and times of this charming yet dangerous Don Juan were exploited by the Anti-reform movement and the Jesuits in the form of a constructive, moralistic story, that later became an international legend. Out of a multitude of artistic transformations, the one by Mozart and Da Ponte still remains the most impressive.