My special offers

Prices

    0
    300
    0€
    300€

Show / Event

Venue

Experience

Calendar

  • Between   and 

Mirco Magliocca / OnP

Mirco Magliocca / OnP

Opera

Falstaff

Giuseppe Verdi

Opéra Bastille

from 10 to 30 September 2024

2h40 with 1 interval

Falstaff

Opéra Bastille - from 10 to 30 September 2024

Synopsis

Listen to the synopsis

0:00 / 0:00

If Falstaff were an animal, he would be a peacock. He plays the beau in front of the Merry Wives of Windsor, convinced, despite his paunch and his age, that he holds them under his spell. He goes so far as to send the same love letter to Mrs Ford and her friend Meg. But beware the women’s revenge, as they will not rest until he repents.

“All the world’s a farce” is the moral of this bittersweet comedy inspired by Shakespeare. In bequeathing this final masterpiece at the age of 80, Verdi displayed his extraordinary vitality and astonishing modernity in his musical structure.

Dominique Pitoiset’s lively, effective staging shifts away from the Elizabethan era to set Falstaff in the bourgeois world of the early 20th century, close to the era of the work’s composition. In so doing, he reveals what undoubtedly moved the composer in this complex but fascinating character: his profound humanity.  

Duration : 2h40 with 1 interval

Language : Italian

Surtitle : French / English

Show acts and characters

CHARACTERS

Sir John Falstaff: a ruined gentleman, a buffoon and a boaster
Ford: a rich man of Windsor
Alice Ford: Ford’s wife
Meg Page: a friend of Alice
Mrs Quickly: a townswoman of Windsor
Nannetta: Alice and Ford’s daughter
Fenton: in love with Nannetta
Pistola and Bardolfo: Falstaff’s servants
Dr Caius: Nannetta’s unwelcome suitor    

First part

Act 1
Doctor Caius accuses Falstaff of having forced his way into his rooms and his two accomplices, Bardolfo and Pistola, of having made him drink in order to rob him. The three accused throw him out. Falstaff realises that he does not have a single penny left and accuses his accomplices of being the cause of his ruin.

He confides in them and presents his latest scheme for obtaining money. He is convinced that Alice Ford and Meg Page, two rich townswomen of Windsor, are both ready to succumb to his charms. He plans to seduce them both and thus restore his finances. He has written each of them a love letter which he asks Bardolfo and Pistola to deliver. The latter, invoking their honour, refuse to serve as go-betweens. Falstaff, in a mighty tirade, launches an attack on honour, this vain notion that does nothing to feed a man, before dismissing his servants.

Alice Ford and her daughter Nannetta meet Mistress Quickly and Meg Page. Alice informs them that she has received a love letter. Exchanging their letters, the two women discover that they are identical. They immediately decide to take their revenge.

Ford arrives in the company of Caius and young Fenton along with Bardolfo and Pistola, who have decided to take their revenge on Falstaff for dismissing them. Men and women alike devise their own plans for revenge. Nannetta and Fenton, who are secretly in love, take advantage of the situation to exchange tender kisses.  

Second part

Act 2
Mistress Quickly arrives claiming to bear messages from Alice and Meg. She announces to Falstaff that Alice, in her husband’s absence, awaits him that very afternoon. Falstaff is full of himself. In spite of his age and portliness, women are still ready to risk everything for him. Ford in turn comes to visit Sir John under a false identity. He claims to be in love with the beautiful Mrs Ford whose virtue is such that all attempts at seduction are in vain. Should Falstaff manage to seduce her, then he too might have some cause for hope, since “one slip may lead to another…”.

Falstaff then reveals to him that he has already made substantial progress. Ford is convinced that his wife has betrayed him. Scarcely controlling himself, he remains alone and curses all women in a ferocious monologue. The four women fix the final details of their revenge.
Nannetta is sad: her father wants her to marry Doctor Caius. Her mother and friends swear to prevent the marriage. Falstaff arrives with a flood of gallant remarks and cooing. Meg bursts in pretending to be anxious and announces that Ford has had wind of the rendezvous and is on her heels. Mistress Quickly in turn arrives. It is no longer a joke: Ford really is about to arrive.

They hide Falstaff behind a screen at first and then in a laundry basket. Ford, followed by Caius, Bardolfo, Pistola and several neighbours move heaven and earth to chase out the suitor, whilst Nannetta and Fenton take advantage of the situation to hide behind the screen. The sound of a rather noisy kiss attracts the attention of Ford, who discovers the lovers. Ever angrier, he continues his search throughout the house. Alice returns accompanied by several servants whom she requests to throw the laundry basket through the window. When Ford reappears, he discovers Falstaff splashing around in the Thames.  

Third part

Act 3
Falstaff ruminates grimly on the wickedness of the world. Mistress Quickly arrives and explains that he is a victim of circumstances and that Alice is truly sorry about the outcome of the adventure. She hands him a note from Alice proposing a midnight rendezvous at Herne’s Oak. He is to go disguised as the Black Huntsman. Alice explains to her friends how she intends to use the legend of the Black Huntsman to take her revenge on Falstaff.

Each of them has a role to play in the comedy. Ford hopes to take advantage of the circumstances to force Nannetta into a trap and oblige her to marry Caius. Alice dresses Fenton in the same disguise as Caius. As midnight chimes, Falstaff enters, dressed as the Black Huntsman. He begins to court Alice but frightening sounds are heard. Pretending to be afraid, Alice flees. The Queen of the Fairies appears (Nannetta in disguise) and summons the spirits. Terrified, Falstaff throw himself to the ground face down.

All the townsfolk of Windsor arrive disguised as fantastic creatures. They jostle and abuse Falstaff in order to force him to beg pardon for his faults. Suddenly recognising Bardolfo, Falstaff realises that he is once again the victim of a farce. Ford announces that the wedding of the Queen of Fairies is to crown the festivities.

However, two couples, dressed and masked identically, ask for his blessing. When the masks fall, Caius discovers that he has just married Bardolfo, whilst Ford realises that he has just handed over his daughter to Fenton. Ford can but forgive the lovers, and Falstaff concludes, followed by the other characters in chorus, that “Everything in the world’s a jest”.  

Artists

Lyric commedy in three acts (1893)

After The Merry Wives of Windsor and scenes from Henri IV by William Shakespeare

Creative team

Cast

Media

[TRAILER] FALSTAFF by Giuseppe Verdi
[TRAILER] FALSTAFF by Giuseppe Verdi
  • Voices from the Troupe: Nicholas Jones

    Voices from the Troupe: Nicholas Jones

    Watch the video

  • A Falstaff who laughs, a Falstaff who cries

    A Falstaff who laughs, a Falstaff who cries

    Watch the video

  • Dominique Pitoiset looks back at Falstaff

    Dominique Pitoiset looks back at Falstaff

    Read the article

  • Draw-me Falstaff

    Draw-me Falstaff

    Watch the video

Voices from the Troupe: Nicholas Jones

Watch the video

6:07 min

Voices from the Troupe: Nicholas Jones

By Isabelle Stibbe

The Paris Opera continues its new series, Les Voix de la Troupe, to learn more about the talents who have joined the institution's new opera group.

On the occasion of Falstaff, Nicholas Jones, who plays Bardolfo, talks about his career and what led him to leave his native Australia to join the troupe.

A Falstaff who laughs, a Falstaff who cries

Watch the video

Interview with Ambrogio Maestri

8:11 min

A Falstaff who laughs, a Falstaff who cries

By Marion Mirande

After his triumph in Verdi's opera at the Opéra Bastille in 2013, the great baritone Ambrogio Maestri returns to the title role of Falstaff in Dominique Pitoiset's vivacious production. Here he talks about the masterpiece of musical theatre that is Verdi's last opera, a piquant and profound comedy inspired by Shakespeare.

© Sébastien Mathé / OnP

Dominique Pitoiset looks back at Falstaff

Read the article

Interview with the stage director

04 min

Dominique Pitoiset looks back at Falstaff

By Marion Mirande

Created in 1999, Dominique Pitoiset's production of Falstaff makes its return to the stage of the Opéra Bastille. When it was last revived, the director discussed his production that brims over with vitality and charm.


Tell us about your first encounter with Falstaff.

I first got to know Falstaff through Shakespeare. At the time of this production's creation, I'd had some major successes in the theatre with Love's Labour's Lost, The Tempest and Macbeth. I had come out of the German school, and had been assistant to Karge and Langhoff, then Giorgio Strehler, who himself had been Bertolt Brecht's assistant. So my approach to Verdi came about via a post-Brechtian, "tangible" theatre. We thought about the mediation of objects, how to increase the focal points of the interaction between the singers. This worked rather well with Verdi because with him, the movements are "musicalised" – dictated by the musical writing.


How did you come to conceive this production and its aesthetic?

I had taken it on with the conviction that we shouldn't do anything too contemporary with it, while being aware that an Elizabethan aesthetic wouldn't dialogue at all well with Verdi's music. I thought it would be interesting to exploit the discrepancies by creating a world on stage that was visually closer to Verdi than Shakespeare. It's a production from the previous century, with an aesthetic that's a very far cry from my current projects. My standpoint would be different if I had to stage the work again. However, looking at the staging, I find it has a lot of charm, and I've immersed myself in it again just as you'd enjoy rediscovering an old comic book tucked away on a shelf.
This staging is full of the ghosts of those who have inhabited it – and there are a lot of them. At the opera, the history of revivals is full of memories and the human element. If a production works and carries on for years, it's thanks to the community of artists and technical teams who keep the whole idea alive. This is something we don't see as stage directors. Once the first night is over, we generally turn the page, ease off the pressure and move onto something else.

Dominique Pitoiset et Varduhi Abrahamyan (Mrs Quickly) en répétition
Dominique Pitoiset et Varduhi Abrahamyan (Mrs Quickly) en répétition © Eléna Bauer / OnP

How much room for manoeuvre do you have with a revival?

Changes always depend on the new singers' relationship with their roles, what their interpretation allows and the way they move. With time, I have learned to observe them. Then I can make adjustments and guide them along paths where they can develop. If you look at past revivals of this production, there have been some very different Falstaffs and Alices, for example. You have to factor in the artists' singularities and requirements. Opera is a world where, with very short rehearsal times, people are putting their reputations on the line, and it's pretty scary. With the passing years and each new project, my own fears have gradually subsided, and I now take great pleasure in helping performers confront their anxieties more calmly.


Can you tell us a bit about the character of Falstaff?

When I look back at this production, I think about the film by Orson Welles, and that brilliant scene, played with incredible finesse, when the young king ascends the throne. Falstaff, who knows him well, is in the crowd and shouts out to him, trying to attract his attention. But the king pretends not to see him, and magisterially disowns him. That scene alone encapsulates Falstaff: a buffoon for whom the whole world is just a joke – and that aspect is what deeply touched the maestro Verdi, I feel.

Draw-me Falstaff

Watch the video

Understand the plot in 1 minute

1:16 min

Draw-me Falstaff

By Matthieu Pajot

  • [EXTRAIT] FALSTAFF de Verdi - "Reverenza!" (Marie-Nicole Lemieux, Ambrogio Maestri)
  • [EXTRAIT] FALSTAFF de Verdi - "Alice è mia!" (Ambrogio Maestri, Nicholas Jones)
  • [EXTRAIT] FALSTAFF de Verdi - "La bella Meg" (Marie-Nicole Lemieux, Ambrogio Maestri)
  • [EXTRAIT] FALSTAFF de Verdi - "È sogno? O realtà?" (Andrii Kymach)
  • Falstaff (saison 24/25) - Acte2

  • Falstaff (saison 24/25) - Acte2

  • Falstaff (saison 24/25) - Acte2 - Reverenza

  • Falstaff (saison 24/25) - Acte2 - Alice È Mia

  • Falstaff (saison 24/25) - Acte1

  • Falstaff (saison 24/25) - Acte3 - Tutti Tutto Nel Mondo

  • Falstaff (saison 24/25) - Acte1 - Nannetta Torno All Assalto

  • Falstaff (saison 24/25) - Acte2

  • Falstaff (saison 24/25) - Acte3

  • Falstaff (saison 24/25) - Acte1

Press

  • Falstaff at the Opéra Bastille, a bright and cheerful start to the new season

    Olyrix, 2024
  • Ambrogio Maestri delivers a masterful performance as a decadent jester.

    France Télévisions, 2024
  • Ambrogio Maestri is the evening's great triumph. The Italian baritone, on whom time seems to have no hold, is undoubtedly one of today's finest Falstaffs.

    Forum Opéra, 2024
  • The Orchestre de l'Opéra national de Paris, conducted by Michael Schonwandt, is roaring, the brass gleaming, the trumpets blaring, the strings and woodwinds wrapped in velvet, while the percussion vibrates and thrills without complex.

    Olyrix, 2024
  • Italian baritone Ambrogio Maestri is impressive as both actor and singer in the title role of Verdi's last opera.

    France Télévisions, 2024
  • A zany production full of cruelty, truth, and humanity all combined!






    Paris capitale, 2024
opera logo
Falstaff


Watch online the recording from season 12/13 on Paris Opera Play, with Ambrogio Maestri, Svetla Vassileva, Gaëlle Arquez, Raúl Giménez...

7-DAY FREE TRIAL Free trial 7 days

Access and services

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text

Imagined as benchmark, richly illustrated booklets, the programmes can be bought online, at the box offices, in our shops, and in the theatres hall on the evening of the performance.  

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text

Imagined as benchmark, richly illustrated booklets, the programmes can be bought online, at the box offices, in our shops, and in the theatres hall on the evening of the performance.  

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Discover opera and ballet in another way

QR code

Dive into the Opera world and get insights on opera and pop culture or ballet and cinema. Scan this code to access all the quiz and blindtests on your mobile.

opera logo

3 min

Falstaff

Falstaff: the true/false story

"Everything in the world is a jest"... Can you untangle this true/false synopsis of Verdi's opera Falstaff? You’re up!

Discover

Immerse in the Paris Opera universe

Follow us

Back to top