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Opera doesn’t get any better than Peter Sellars’ dazzling production of “The Gambler,” the revelation of Mieczysław Weinberg’s neglected “The Idiot” or the sheer perfection of Mozart’s “Don Giovanni,” conducted with dug-in profundity by Teodor Currentzis.

This included bringing back Teodor Currentzis to lead a revival of an avant-garde production of Mozart’s “Don Giovanni.”

All of that shows up in the “Don Giovanni,” which came close to perfection and extreme reinvention.

The real opera sets Pushkin’s play, which was written as a response to Mozart’s “Don Giovanni,” word for word.

Barskaya told the audience that she can’t remember whether, growing up in Kyiv, she heard “The Stone Guest” or Mozart’s “Don Giovanni” first, so seminal is the work to the development of Russian opera.