The Merry Wives of Windsor William Shakespeare

Plays

• The Comical Gallant, a revision and adaptation by John Dennis (1702)
• The Merry Wives of Windsor was adapted and translated into Swahili for the Bitter Pill Company by Joshua Ogutu. It performed at Shakespeare's Globe Theatre in London (2012)[19]
• The Very Merry Wives of Windsor, Iowa by Alison Carey, adapted the play as a modern political satire, blending new dialogue with Shakespeare's text. Premiered at the Oregon Shakespeare Festival (2012)[20]
• The Merry Widows of Windsor by Emily C. A. Snyder is a sequel to Shakespeare's text, written in blank verse. It played as a staged reading at the Sheen Center in New York City (2018).[21][22]
• Anne Page Hates Fun by Amy E. Whitting is a modern play in conversation with Shakespeare's text. It premiered at the American Shakespeare Center, as one of the winners of Round 1 of Shakespeare's New Contemporaries (2018)[23]
• Merry Wives adapted by Jocelyn Bioh for NYC's Shakespeare in the Park by The Public Theater in 2021.[24] The adaptation is set among West African immigrants in present-day Harlem. The play was also televised for the PBS program, Great_Performances[25]

Operas

• Les deux amies, ou le vieux garçon, music by Louis-August Papavoine[26] (1761)
• Herne le chasseur, music by François-André Danican Philidor,[27] libretto by Douin[28] (1773)
• Die lustigen Weiber von Windsor, libretto by George Christian Romer, music by Peter Ritter (1794)[29]
• Die lustigen Weiber von Windsor, libretto by George Christian Romer, music by Carl Ditters von Dittersdorf (1796)[30]
• Falstaff, an opera buffa by composer Antonio Salieri, with a libretto by Carlo Prospero Defranceschi (1799)
• Falstaff by composer Michael William Balfe, with an Italian libretto by Manfredo Maggioni (1838)
• Die lustigen Weiber von Windsor, a singspiel, by German composer Carl Otto Nicolai (1849). The opera contains much German spoken dialogue, and many of the characters' names have been changed (the names of the Mistresses Ford and Page are now Fluth and Reich) and there is more focus given between the romance of Fenton and Anne. It is the only opera adaptation to include the disguising of Falstaff as a woman.
• Falstaff, one-act, music by Adolphe Adam,[31] libretto by Jules-Henri Vernoy de Saint-Georges and Adolphe de Leuven (1856)[28]
• Falstaff by Giuseppe Verdi, with a libretto by Arrigo Boito, was Verdi's last opera (1893). Some of the changes include Anne (known as Nanetta) now as the daughter of Mistress Ford rather than Mistress Page, and she is betrothed by her father to Dr. Caius alone, with Mistresses Ford and Page conspiring to aid in her elopement with Fenton. The roles of Master Page, Slender, Shallow, Sir Hugh Evans, and many others are eliminated. To flesh out Falstaff's character, librettist Arrigo Boito adds material from Shakespeare's Henry IV, Part I and Part II, including the famous "honour" soliloquy. It is largely considered to be the best operatic adaptation of The Merry Wives of Windsor, as well as one of opera's greatest comic achievements.
• Sir John in Love by English composer Ralph Vaughan Williams (1929). Much of the libretto the composer took directly from Shakespeare's text, making it the most accurate of the operatic adaptations. This is the only opera version to retain all of the characters as well as the subplot of the duel between Dr. Caius and Sir Hugh Evans.