Don Juan is portrayed in relation to the cardinal points of his dramatic action: his four conquests –the noblewomen Isabela and doña Ana, and the commoners Tisbea and Aminta–, love's meaning –for him and for them–, his arrogance as a playboy, his birth as a new Aeneas... All this, with the aim of being able to follow the course of the legend, giving a voice and music to each protagonist. • Tirso's verses have been illustrated by turning to the music of the most inspired composers of Spain's Baroque period, such as Cristóbal Galán, Juan Hidalgo, Bernardo Murillo, Manuel Correa, Manuel de Egüés, and the inevitable anonymous composers. In many instances the majority of the compositions, in addition to being unpublished, are worldwide premiere recordings. • The use of a variety of registers from the 17th century Spanish repertory is prominent: from pieces of extraordinary and penetrating lyricism, masterfully executed by the sopranos Cyrille Gerstenhaber and Marisa Martins, to tonos humanos (secular songs), instrumental interludes by Trabaci and Macque, chapel masters from Naples –where the action begins–, folk rhythms and dances, and the magnificent 12-voice Dies irae sequence by Galán that concludes the register. Àngel Recasens, in his last recording –a posthumous one–, gives us some emotive and elegant performances that aim for dramatic purpose and proportionality, converting a practically unknown repertory into works destined to endure.