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

Saturday, 05. December 2020
07:00 pm

Introductory Event: 06:00 PM

Open ticket sales

Prices M , € 193 / 168 / 142 / 117 / 90 / 64 / 16 / 14

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Premiere at 26. November 2020


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Dates & Tickets

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

Sir John Falstaff
Wolfgang Koch
Boris Pinkhasovich
Galeano Salas
Dr Cajus
Kevin Conners
Callum Thorpe
Mrs Alice Ford
Ailyn Pérez
Mrs Quickly
Wiebke Lehmkuhl
Mrs Meg Page
Dorottya Láng
Timothy Oliver
Mélissa Petit
  • 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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Stellario Fagone studierte in seiner Heimatstadt Turin und war zwischen 1998 und 2000 als Pianist und musikalischer Assistent des RAI-Symphonieorchesters tätig. Mit Gaetano Donizettis Il campanello debütierte er als Dirigent am Teatro Mancinelli in Orvieto. Von 2003 bis 2006 war er als Korrepetitor an der Bayerischen Staatsoper engagiert, von 2006 bis 2018 als stellvertretender Chordirektor. Zudem ist er Leiter des Kinderchores. Beim Chor des Bayerischen Rundfunks übernahm er die Einstudierungen von Walter Braunfels’ Mysterienspiel Verkündigung, von Peter I. Tschaikowskys Iolanta und der Veranstaltung „La Notte italiana“. Als Dirigent leitete er u. a. Aufführungen von La bohème, Così fan tutte, Hänsel und Gretel, Ariadne auf Naxos und Der Rosenkavalier. In der Spielzeit 2014/15 hatte er an der Bayerischen Staatsoper die musikalische Leitung von Pinocchio inne. Seit der Spielzeit 2019/20 ist er hier Chordirektor. (Stand: 2020)

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