because of his loathing of the Nazi regime. When Karajan was in a position to do so he added Falstaff to the repertoire of his opera company at Aachen in 1941, and he remained a proponent of the work for the rest of his career, presenting it frequently in Vienna, Salzburg and elsewhere, and making audio and video recordings of it. Solti also became closely associated with Falstaff, as did Carlo Maria Giulini; they both conducted many performances of the work in mainland Europe, Britain and the US and made several recordings. Leonard Bernstein conducted the work at the Met and the Vienna State Opera, and on record. The advocacy of these and later conductors has given the work an assured place in the modern repertoire. Among revivals in the 1950s and later, Hepokoski singles out as particularly notable the Glyndebourne productions with Fernando Corena and later Geraint Evans in the title role; three different stagings by Franco Zeffirelli, for the Holland Festival (1956), Covent Garden (1961) and the Metropolitan Opera (1964); and Luchino Visconti's 1966 version in Vienna. A 1982 production by Ronald Eyre, more reflective and melancholy than usual, was staged in Los Angeles, London and Florence; Renato Bruson was Falstaff and Giulini conducted. Among more recent players of the title role Bryn Terfel has taken the part at Covent Garden in 1999, in a production by Graham Vick, conducted by Bernard Haitink. and at the Metropolitan Opera in a revival of the Zeffirelli production, conducted by James Levine in 2006. Although Falstaff has become a regular repertoire work there nonetheless remains a view expressed by John von Rhein in the Chicago Tribune in 1985: "Falstaff probably always will fall into the category of 'connoisseur's opera' rather than taking its place as a popular favorite on the order of La traviata or Aida." Roles Synopsis Time: The reign of Henry IV, 1399 to 1413 Place: Windsor, England Act 1 A room at the Garter Inn Falstaff and his servants, Bardolfo and Pistola, are drinking at the inn. Dr Caius bursts in and accuses Falstaff of burgling his house and Bardolfo of picking his pocket. Falstaff laughs at him; he leaves, vowing only to go drinking with honest, sober companions in future. When the innkeeper presents a bill for the wine, Falstaff tells Bardolfo and Pistola that he needs more money, and plans to obtain it by seducing the