Falstaff (1980)
Lyric Comedy in Three Acts
Music by Guiseppe Verdi
Libretto by Arrigo Boito, drawn from Shakespeare’s The Merry Wives of Windsor and from Falstaff episodes in his Henry IV
Used by arrangement with Associated Music Publishers, Inc , U.S. agents for G. Ricordi & Co., Milan
English translation by Andrew Porter
First performed in Milan, February 9, 1893
Dates of Performance
May 29, 31; June 6, 11, 14, 17
1980 Season
The Magic Flute   Falstaff
Fact or Fiction   The Seven Deadly Sins
Photo Gallery
Cast
Maurice Brown
Sir John Falstaff
Gordon Bovinet
Dr. Caius
Joseph Frank
Bardolph
Steven Alexus Williams
Pistol
Meg Page
Susan Whalen
Alice Ford
Elizabeth Pruett
Carolyne James
Mistress Quickly
Erie Mills
Nannetta
Carlos Serrano
Ford
Jerry Hadley
Fenton
Creative Team
Bruce Ferden
Conductor
Rhoda Levine
Stage Director
Maxine Willi Klein
Scenic Designer
Susan B. Feldman
Costume Designer
Arden Fingerhut
Lighting Designer
Synopsis
Scene i, The Garter Inn.
Sir John Falstaff, composing two love letters, is disturbed by the arrival of the pompous French physician Dr. Caius, who demands reparation against Falstaff’s “retainers,” Pistol and Bardolph, for robbing the doctor while he was drunk the previous evening. Falstaff berates his companions, not for robbing the old pedant, but for their lack of style. He himself is in dire financial straits, and hopes to improve his circumstances by loosening the purse strings of one of two attractive Windsor wives, Alice Ford and Meg Page. He has written identical love letters to them, but Pistol and Bardolph refuse to act as his pander, so ha sends off Robin, the inn’s pot-boy, with the letters.
Scene ii, A yard next to the house of Alice Ford.
Meg and Alice have received the letters, and instantly see through Falstaff’s trickery They are encouraged by Mistress Quickly and Ford’s daughter, Nannetta, to take some delicious revenge. As they leave to discuss their plans, Ford appears with Caius, who is complaining about his treatment at Falstaff’s hands, and with Bardolph and Pistol, who have revealed Falstaff’s intentions toward Ford’s wife. Ford contemplates his impending cuckoldry with wrath, and then departs Young Fenton, following in Ford’s wake, snatches a few hasty kisses from his sweet- heart, Nannetta. Both groups return, each hatching its own plot for revenge Alice will make an assignation with Falstaff and then discomfit him with the feigned return of her jealous husband. Ford, for his part, will go disguised as Master Brook- and bribe Falstaff to act as pander between him and his own wife, and so unmask him.
Scene i, The Garter Inn.
Bardolph and Pistol hypocritically ask Falstaff’s forgiveness, while introducing Mistress Quickly with a message. She indicates that her friend Alice may be prepared to receive Falstaff between two and three o’clock. Quickly has hardly left when “Master Brook” is announced; he pays Falstaff handsomely to effect a meeting between himself and Mistress Ford. Falstaff hastens to agree.
Scene ii, Ford’s house.
Quickly reports that Falstaff is on his way The plan is to hide the old knight in a basket of filthy laundry and throw him into the river. Their merriment is interrupted by Nannetta; her father has promised her hand in marriage to the odious Dr. Caius. Alice cheers her by promising that the marriage will take place over her dead body. The others hide as Falstaff arrives and declares himself. The woo ng is rudely interrupted by the actual return of Ford and his cronies, who turn the house upside down in an effort to find the cuckoo in the nest. At first, Falstaff hides behind a screen, but as soon as Ford has left the room, he is stuffed into the laundry basket. Ford returns and is more indignant than ever, until Alice shows her husband the spectacle of the laundry basket, dirty sheets, Falstaff, and all, floating down the river Thames.
Scene i, The courtyard of the Garter Inn.
Falstaff, drying off back at the inn, is disillusioned with life. Quickly appears with another note from Alice, apologizing for the afternoon’s debacle and asking for another assignation. Sir John is gradually won over; he is to disguise himself as Herne, the ghostly huntsman, and meet Alice at midnight under Heme’s Oak in Windsor Forest.
Scene ii, Heme’s Oak in Windsor Forest.
It is a moonlit night; everyone is in disguise. Falstaff approaches, and begins to woo Alice. His awkward love- making is interrupted by “supernatural” sounds. Alice flees, while Falstaff flings himself to the ground in terror. The entire company appears, variously disguised as elves, fairies, and demons. They give Falstaff a sound thrashing to teach rim to mend his ways, but the masquerade collapses as Falstaff recognizes Bardolph. In the merriment that follows, all is forgiven. Falstaff suggests a final chorus, to be followed by supper. The great fugue begins.
All in the world’s but folly.
Man is born to be jolly-
Spinning and whirling,
Ever turning,
Our life’s a joke-
Living with laughter,
Making a jest
Of all that befalls him,
Passing the test
If he laughs the best
To find the jest
Played on him!
Men live by laughter!
 The costumes, sets, and stage properties of this production of Falstaff have been provided by a deeply appreciated gift from Judith Aronson. Dr. Gene Spector, and Mark Twain Bancshares.
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