which are quickly emptied into a ditch. Herr Fluth has searched the whole house in the meantime without success and is forced to believe his wife, who protests her innocence. Act 2 Scene 1 At the inn, Falstaff has recovered from his bath and sings bawdy drinking songs. A messenger brings him a letter, in which Frau Fluth proposes another rendezvous. Her husband appears in disguise and presents himself as Herr Bach to get Falstaff to talk about his trysts. He unsuspectingly brags about his affair with Frau Fluth, which provokes her husband's rage. Scene 2 Spärlich and Cajus sneak around Anna's window, but before they attempt to go near, they hear Fenton's serenade and hide in the bushes. From there they observe a passionate love scene between the two lovers. Scene 3 Falstaff is again with Frau Fluth, and Frau Reich again warns them both that Herr Fluth is on his way home. This time they dress the fat knight in women's clothes to try and pass him off as the maid. Herr Fluth enters and finds only the old maid, whom he angrily throws out of the house. Act 3 Scene 1 Fluth and Reich are finally let in on the plan by their wives and the four of them decide to take Falstaff for a ride one last time. The knight is expected to show up at a grand masked ball in Windsor Forest. Additionally, Herr and Frau Reich each plan to take advantage of the confusion to marry Anna off to their preferred suitor. Instead, however, she has arranged a nighttime meeting with Fenton in the forest. Scene 2 After the moonrise, depicted by the choir and orchestra, the masked ball in the forest begins. At first, Falstaff, disguised as Ritter Herne, is lured by the two women, but then he is frightened by various other guests disguised as ghosts, elves, and insects. After the masks are removed and Falstaff is mocked by everyone, Anna and Fenton, who got married in the forest chapel, appear. In a cheerful closing number all of the parties are reconciled. Music The opera follows the Singspiel tradition, in which musical numbers are connected by spoken dialog. Nicolai referred to the work as a "komisch-fantastische Oper" ("comic/fantasy opera"), reflecting its fusion of romantic opera in the style of Carl Maria von Weber and the comic operas of Albert Lortzing, which were