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Photos by Katharine Elliott Sarro
Bardolfo, tenor Steven Cole (left), and Pistola, bass Matthew Rose (right), refuse to assist Falstaff woo the two married women. Falstaff, baritone Roberto de Candia (center) lectures his friends on the true meaning of honor. Falstaff (baritone Roberto de Candia) decides that he will repair his fortune by having affairs with, not just one wealthy woman, but two.

Alice Ford (soprano Christine Goerke) receives a love letter from Falstaff and, when she learns that her best friend Meg has received the same letter, devises a plan to teach him a lesson.

Nannetta, soprano Evelyn Pollock, and Fenton, tenor Jesús Garcia, share a few playful moments together.

Fenton, tenor Jesús Garcia, hides in a bed of straw.

Director Robert Driver holds Falstaff's crest triumphantly.

Here a stagehand secures one of the hanging stag skulls that are part of the eerie Act III, Scene 2 set. The Herne's Oak, where the final scene takes place, is full of these stag skulls with seven tines, which in Celtic and Druid folklore symbolize kingship..

Portions of the set are kept backstage ready to be moved quickly and easily in the breaks between scenes.

A view from center stage! This is what the singers see as they walk onstage from the upstage center entrance in the last scene of Falstaff.

Baritone Roberto de Candia begins his transformation into Falstaff by getting his beard and mustache fixed properly into place.

With a few final touches, Roberto de Candia has completed his metamorphosis into Sir John Falstaff.

Maestro Corrado Rovaris discusses a few notes with baritone Roberto de Candia as he gets fitted into his wig.