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, 22. May 2021
07:30 pm

Open ticket sales

Prices K , € 132 / 115 / 95 / 74 / 52 / 30 / 14 / 10

request tickets

Premiere at 02. December 2020


To List of Performances

Dates & Tickets

To List of Performances


Pinchas Steinberg
Mateja Koležnik
Set Design
Raimund Orfeo Voigt
Costume Design
Ana Savić-Gecan
Magdalena Reiter

Sir John Falstaff
Wolfgang Koch
Boris Pinkhasovich
Bogdan Volkov
Dr. Cajus
Kevin Conners
Francesco Castoro
Callum Thorpe
Mrs. Alice Ford
Olga Bezsmertna
Elsa Benoit
Mrs. Quickly
Okka von der Damerau
Mrs. Meg Page
Dorottya Láng
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper

Cast for all dates

To List of Performances


To List of Performances

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.


To List of Performances


Wolfgang Koch studierte Gesang in München und war anschließend Ensemblemitglied am Stadttheater Bern, am Staatstheater Stuttgart und an der Wiener Volksoper. Er gastierte u. a. an den Opernhäusern in Hamburg, Berlin, Frankfurt, Tokio, Zürich, Wien, Mailand, Paris und New York sowie bei den Festspielen in Bregenz, Salzburg und Bayreuth. Zu seinem Repertoire gehören Partien wie Scarpia (Tosca), Barak (Die Frau ohne Schatten), Wotan (Der Ring des Nibelungen), Mandryka (Arabella), Don Pizarro (Fidelio), Jochanaan (Salome) und die Titelpartien in Aribert Reimanns Lear und Paul Hindemiths Mathis der Maler. 2014 wurde er zum Bayerischen Kammersänger ernannt. (Stand: 2020)

To List of Performances