Commedia lirica in three acts (1893)

Composer Giuseppe Verdi · Libretto by Arrigo Boito after The Merry Wives of Windsor and passages from King Henry IV by William Shakespeare
In Italian with German and English surtitles | New Production

Wednesday, 02. December 2020
07:00 pm

Introductory Event: 06:00 PM

Direct sales to this performance have to be postponed and will only start once the regulations for theatres are clear in December. This is currently not expected before the end of November.

Premiere at 02. December 2020


This performance will be broadcasted live via the internet as part of Staatsoper.TV.

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Dates & Tickets

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Michele Mariotti
Mateja Koležnik
Set Design
Raimund Orfeo Voigt
Costume Design
Ana Savić-Gecan
Magdalena Reiter
Tamás Bányai
Stellario Fagone
Nikolaus Stenitzer

Sir John Falstaff
Wolfgang Koch
Boris Pinkhasovich
Galeano Salas
Dr. Cajus
Kevin Conners
Callum Thorpe
Mrs. Alice Ford
Ailyn Pérez
Timothy Oliver
Mrs. Quickly
Judit Kutasi
Elena Tsallagova
Mrs. Meg Page
Daria Proszek
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper

Cast for all dates

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Learn more

Sir John Falstaff, the enormous, immense Falstaff, as he enthusiastically calls himself, is in dire straits. His belly, his greatest pride, synonymous with his stateliness, requires constant maintenance in the form of an over-abundant supply of food and drinks. His means are therefore exhausted. Coupled with his magnificence as a real man, Falstaff’s cunning will come to his aid, he thinks: He composes identical love letters to Mrs Alice Ford and Mrs Meg Page, to captivate the ladies’ hearts and therewith also capture their husbands’ fortunes. The two “Merry Wives of Windsor” are, however, well able for the pretentious beau, as the (lyrical) comedy shifts into gear. 

Verdi’s last opera was only his second excursion into the comedy genre. Almost fifty years after his early piece, Un giorno di regno, was not a roaring success, he dared approach the Shakespearean material, congenially prepared by his librettist, Arrigo Boito. Falstaff should have spirit, Verdi wrote Boito, and he therefore extended the original, Shakespeare’s The Merry Wives of Windsor, with passages from Henry IV (where Shakespeare had Sir John Falstaff appear for the first time), didn’t scrimp on the literary references and poetic artifices, and invented some of the most wonderful tirades in literary history. Verdi followed the libretto with a detailed, fully composed tour de force full of wit and depth, in which the driving grotesque is set just as unrivalled in music as the lyrical moments are.


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Michele Mariotti wurde in Pesaro geboren und studierte Komposition am dortigen Rossini-Konservatorium sowie Dirigieren an der Accademia Musicale Pescarese. Von 2008 bis 2014 war er Chefdirigent der Filarmonica del Teatro Comunale di Bologna, von 2015 bis 2018 Generalmusikdirektor des Teatro Comunale. Gastengagements führten ihn u. a. an De Nationale Opera Amsterdam, die Metropolitan Opera in New York, das Royal Opera House Covent Garden in London und die Deutsche Oper Berlin sowie zu den Salzburger Festspielen. Er trat mit Orchestern wie dem Gewandhausorchester Leipzig und dem Orchestre National de France auf. Zuletzt dirigierte er u. a. Don Pasquale und La traviata an der Opéra national de Paris, Giuseppe Verdis I masnadieri am Teatro alla Scala in Mailand und Semiramide beim Rossini Opera Festival in Pesaro. Mit diesem Werk debütierte er bereits 2017 an der Bayerischen Staatsoper. (Stand: 2020)

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