There is without doubt a sense of unease watching Don Giovanni in the 21st century. Mozart’s anti-hero isn’t just a cheeky flirt, he is a man who revels in his wickedness - cheating, lying, deceiving and even breaking into a woman’s home and raping her in order to conquer women. And much of this is portrayed in a light-hearted even flippant manner so that, just as he hides his true self from those around him, he also charms the audience.

But, we the audience, are a step ahead because we know, or at least most of us know, that Don Giovanni’s antics will not go unpunished - he is literally on the road to hell.

This 2011 Welsh National Opera production underlines Don Giovanni’s fate from the very beginning. Originally directed by John Caird and designed by John Napier, all the action takes place within a dark funereal set which is based on Rodin’s famous Gates of Hell sculpture in which writhing bodies submerge into the metal, being dragged down into the inferno. With these figures as a background, we are constantly reminded of Don Giovanni’s looming fate.

That is not to say the production isn’t fun - with much of the humour coming from Don Giovanni’s servant Leporello, played by Joshua Bloom. Here is a man who constantly tells his boss to give up womanising but, when offered gold coins, will pander to him, literally. Bloom is at his best when playing up to these contrasts, epitomised in a scene in which he disguises himself as Don Giovanni in order to help his master in his tricks.

Duncan Rock lays on the charm as Don Giovanni so it is easy to see why so many women fall for him but underneath there is an icy determination to seek his pleasure however he will. When we first meet him, we see Don Giovanni at his worst, attacking Donna Anna (Linda Richardson) in her own home and killing her father with no remorse. It is difficult to pull us back to his side after this introduction.

Don Giovanni’s earthly nemesis comes in the shape of Donna Elvira (Meeta Raval), a woman who believes he is pledged to her and is determined he will either marry her or be ruined. Raval’s wavering between these two motivations makes her situation all the more tragic, despite everything she still wants to believe Don Giovanni can love her.

Giving Don Giovanni a run for his money is the peasant girl Zerlina (Harriet Eyley). As he attempts to seduce her on her wedding day with words and riches, he finds she is not quite as naïve as he had hoped and, together with her fiancé Masetto (James Atkinson), she leads him a merry game.

Mozart’s wonderful music is given full vein over more than three hours by the WNO Orchestra under the baton of Frederick Brown.

When Don Giovanni meets his end and is dragged into hell by the revenging spirit of Donna Anna’s father the Commendatore (James Platt), the giant gates which have brooded over the production slide forwards, swallowing Don Giovanni into a red mist before the doors close - and everyone breathes a sigh of relief that he has finally paid the price for his actions.

In true Mozart form, the final word goes to those who together hoped to vanquish him and they remind the audience that this is what happens if you live a sinful life - you will get your just reward and justice will prevail.

Four stars.

Reviewed by Diane Parkes at Birmingham Hippodrome on Thursday 21 February.

Don Giovanni forms part of the WNO spring season at the Hippodrome which also included Janáček’s Jenůfa on 20 April and features Puccini’s Madam Butterfly on 23 April. Visit birminghamhippodrome.com for full details. Note: different performers play the lead roles on different dates.