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Verdi Falstaff

From 02 December TO 12 December 2020
Nationaltheater - München
Program

Verdi : Falstaff

Cast
  • Conductor
    Michele Mariotti
  • Director
    Mateja Koleznik
  • Performers
    Sir John Falstaff: Wolfgang Koch
    Alice Ford: Ailyn Pérez
    Ford: Boris Pinkhasovich
    Mrs Quickly: Judit Kutasi
    Nannetta: Mélissa Petit
    Fenton: Galeano Salas
    Meg Page: Dorottya Láng
M&O OFFER

Spatenhaus an der Oper

Residenzstraße 12

80333 München

 

This offer includes a ticket in the category chosen with a dinner at the Spatenhaus an der Oper after the performance.

« Dish + Dessert » Drinks not included

Fish, Meat or Vegan plate, thanks to confirm during your booking.

Open daily from 11:30 am to 00:30am

 

The Spatenhaus an der Oper embodies Bavarian cuisine in its most refined form . Beautifully situated right opposite the Bavarian State Opera is celebrated in the traditional Munich Haus at great expense a fine Bavarian cuisine.

  • Venue Info
  • Seating Plan
  • Synopsis

Nationaltheater - München Location Max-Joseph-Platz 2 - 80539 München Allemagne

  • Venue's Capacity: 2100

The history of Munich's actual theatre truly only begins at the end of the eighteenth century. Indeed, after over a century of infatuation for Italian opera, which was manifest in the construction of the Théâtre de la Cour (now called the Théâtre Cuvilliês, still active), local inhabitants began to feel the need for a German lyrical art. German repertoire, as Mozart appealed for, active in Munich especially during the premiere of his IDOMENEO, but also, a German theatre, since the Theatre de la Cour was limited to Italian art. The Napoleonic wars and King Maximilien I's sudden passion for the Odéon Theatre in Paris postponed this project.

 

The public thus waited until 1818 to discover its « National Theatre, » a subtle and luxurious synthesis of various styles: loggias in the Italian tradition cohabited with innovations from the French school of architecture. One of the noveltieswas a reservoir of water destined to be used in case of fire, but which nevertheless did not save the buildîng from flames in January 1823 ; the water was frozen! The Opera was reconstructed, financed by a special tax on beer: perhaps an original means but one yielding a particularly high return! After these rather tumultuous beginnings, the National Theatre reopened in 1825 and became the hotbed of German lyrical art. Four of Wagner's operas were premiered there between 1365 and 1870 (TRISTAN UND ISOLDE, Da MEISTERSINGER, DAS RHEINGOLD, and DIE WALKÜRE).

 

Wagner, of course, but also Mozart and Richard Strauss soon became the pillars of the Theatre's repertoire during the first half of the twentieth century, thanks to the talent of conductors such as Bruno Walter, Hans Knappertsbusch, and... Richard Strauss, himself a native of Munich. Strauss saw two of his operas premiered in his home town: FRIEDENSTAG (Peace Day, 1938!), and CAPRICCIO (1942). The libretto of the latter was elaborated with the help of the conductor Clemens Krauss, who was then Director of the Opera. The fact that the building was destroyed during the war did not prevent the company's tradition from being perpetuated.

 

Between 1952 and 1967, the institution was directed by Rudolf Hartmann, a former assistant to Richard Strauss and Clemens Krauss. The former 1818 edifice was reconstructed in 1963, after much hesitation as to whether or not to erect a modern hall. The long reign (1971-1992) of conductor Wolfgang Sawallisch, a distinguished representative of the tradition composed of rigour and commitment, is an example of the perserverance with which the Bayerische Staatsoper comes to terms with the legacy of its brilliant past.

Nationaltheater

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Falstaff

THE INCREDIBLE OPERA OF FALSTAFF

Giuseppe Verdi's comedic operatic work is amongst one of the great composer's best loved works. Based in part around the Shakespeare plays of The Merry Wives of Windsor and Henry IV, the opera is now recognised as something of a classic. After an initial reluctance from theatre goers to warm to the themes and melodies found within, the opera has received praise and respect since the 1930s onwards. The many studio recordings and live performances based around the world have brought it to the attention of opera lovers everywhere. 

HISTORY

Verdi's comedic opera is set in Windsor, England at the end of the 14th Century. It is largely concerned with the humorous consequences of the arrogance and bluster of the central character as he attempts to seduce two married ladies. The hilarious twists in the plot can act as a symbol for the ongoing confusion in human nature and the timeless class struggles and problems of identity that remain consistent and relevant today. 

Act 1 

The first act details Falstaff's attempts to woe the married Alice Ford and Meg Page with letters of love. He attempts to enlist the help of his friends Bardolfo and Pistola to deliver the letters. The men refuse, but the letters still manage to find their way to the ladies in question. The situational comedy of such action provides the ideal starting point for the opera. 

Act 2 

The misunderstandings and dramatic comedy are intensified in the second act as Alice Ford's husband becomes embroiled in the story. He hatches a plan with Bardolfo and Pistola to discredit their former friend by conspiring to make him look ridiculous in his pursuit of Alice. However, Ford is himself taken in by the emotional confusion of love and is soon sick with anger at Falstaff's desire for his wife. 

Act 3 

The culmination of the amusing cross purposes and miscommunication arrives once Ford realises his error in judgement in suspecting his wife of an affair. In working out the perfect punishment for the fat foolish knight, the crux of the opera is wonderfully delivered. Dealing with a light touch the essential motivations and romantic impulses of human relationships, Verdi is able to bring a timeless story of passion, crossed wires and tomfoolery to the world stage. Leaving the audience with a sense of happy goodwill in the face of the perplexities of life, the opera can be counted on to raise the spirits. 

MAIN ROLES

Sir John Falstaff, a fat arrogant knight, baritone
Ford, a rich man, baritone
Alice Ford, his wife, soprano
Nannetta, their daughter, soprano
Meg Page, a wealthy married woman, mezzo-soprano
Fenton, one of Nannetta's suitors, tenor

© Bayerischen Staatsoper

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