| Verdi, Giuseppe (1813-1901) | Falstaff | Libreto de Arrigo Boito |
| Komische Oper Berlin | |||
| Ainārs Rubiķis | Dirección | ||
| Barrie Kosky | Dirección de escena | ||
| Katrin Lea Tag | Diseño de escena, Diseño de vestuario | ||
| Franck Evin | Diseño de iluminación | ||
| Orchester der Komischen Oper Berlin | |||
| Chorsolisten der Komischen Oper Berlin | |||
| Olaf Schmitt | Dramaturgia | ||
| David Cavelius | Dirección de coro | ||
| Scott Hendricks | Barítono | Sir John Falstaff | |
| Günter Papendell | Barítono | Ford | |
| Oleksiy Palchykov | Tenor | Fenton | 2022 may 07, 28, jun 05, 11, 25, jul 09 |
| Galeano Salas | Tenor | Fenton | 2022 abr 30, may 12, 22 |
| Ruzan Mantashyan | Soprano | Alice Ford | |
| Penny Sofroniadou | Soprano | Nannetta | 2022 may 07, jun 05, 11, 25, jul 09 |
| Alma Sadé | Soprano | Nannetta | 2022 abr 30, may 12, 22, 28 |
| Agnes Zwierko | Mezzosoprano | Mistress Quickly | |
| Ivan Turšić | Tenor | Dr Caius | |
| Johannes Dunz | Tenor | Dr Caius | |
| James Kryshak | Tenor | Bardolfo (Bardolph) | |
| Karolina Gumos | Mezzosoprano | Meg Page | |
| Jens Larsen | Bajo | Pistola (Pistol) |
Opera in Italian language
Grandiose joie de vivre comes together with a quest for meaning—Giuseppe Verdi’s last masterpiece, written when he was nearly 80, not only breathed new life into the genre of Italian opera-comedy, but spontaneously revolutionised the genre and brought it into the 20th century. Exceptional baritone and »stage animal« Scott Hendricks returns to the Komische Oper Berlin in the title role, while audience favourite Günter Papendell makes his debut as the aggrieved husband, Ford.
Faced with his precarious financial situation and convinced of his virility, Sir John Falstaff tries to woo two wealthy women—Alice Ford and Meg Page—simultaneously, with two identical love letters. Unfortunately for him, the two friends discern Falstaff’s motives and decide to teach him a lesson …
The impermanence of man has shaped Western culture: Both our search for meaning and joie de vivre originate and end in mortality. In this respect, it is both surprising and not surprising that Verdi ended his career as an opera composer with Falstaff. To this day, his second comic opera ever is a milestone of the genre, paving the way for works such as Gianni Schicchi or Der Rosenkavalier. In the hands of Verdi and his librettist Arrigo Boito, the character Falstaff, derived from Shakespeare's drama Henry IV and his comedy The Merry Wives of Windsor, embodies the contradictions of human existence: joie de vivre and melancholy, pragmatism and bravado, unbridled pleasure and philosophical musing.