There’s drama, there’s sex, there’s betrayal and there’s singing. The Dallas Opera’s production of “Don Giovanni” has all of this and more.

Whether you would consider yourself a fan of opera or not, this is a production that anyone can enjoy.

The title character is one of the most well-known womanizers of all time, and the drama created by his escapades is matched by every other element of this production.

Director-designer John Pascoe’s opus is a tour-de-force that has taken over the Winspear Opera House and is sure to leave the audience awestruck through Nov. 7.

Not only is the cast accomplished and attractive, but the set and costumes  add significant drama to the show.

The story centers around Giovanni, played by the debonair baritone Paulo Szot, who is continually gaining international acclaim in both the opera world and Broadway.

Most recently, Szot won a Tony award for his revival of his role of Emile de Becque in “South Pacific.”

Some of the strongest operatic performers sometimes lack the ability to act, but Szot is able to match every lead on stage.

In the opera, all three of Giovanni’s target women are the full package. Donna Anna, played by soprano Claire Rutter, sings not only with complete control, but also with a matchless combination of eloquence and vulnerability.

Georgia Jarman is a force to be reckoned with in the role of Donna Elvira. Her voice is arresting. She controls the stage when she sings and her aria in the second act is the most beautiful song in the show.

The ingénue Zerlina is played with enchanting exuberance by soprano Ailyn Perez. She is a performer who merges the arts of singing and acting, while drawing every eye in the audience.

 Stealing the show from these four may seem impossible, but without question, Mirco Palazzi manages to do so in the character of Leporello.     

“Don Giovanni” is Palazzi’s U.S. debut, and this Italian bass plays this sometimes expendable character with all of the humor that Mozart intended.

Palazzi and Szot have better chemistry than any of the male-female relationships in the show, which adds a playfulness to the opera that is delightful to watch.

There is also the iconic scene from this opera, when the Commendatore drags Giovanni to hell. The scene is the one the audience waits for, the scene that makes or breaks any production of “Don Giovanni.”

Once again, Pascoe outdoes himself. Without giving too much away, the spectacle of the show that comes before it is well-matched.