Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Repertoire

Das Liebesverbot, Vienna 1962

Das Liebesverbot: Grosse komische Oper in two acts.

Lohengrin, Bayreuth 2010 Live

Opera in three acts. Words and music by Richard Wagner.

Parsifal, Bayreuth 2012 Live

Parsifal. Bühnenweihfestspiel (“stage dedication play”) in three acts.

Music from Johann Wolfgang von Goethe

“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .

Operas based on the works of Friedrich von Schiller

This theme relates to operas based on the works of Friedrich von Schiller.

Operas Based on French Literature

Here are operas based on French literature from Balzac, Hugo and beyond:

Jules Massenet: Le Cid

Le Cid, Opéra in 4 acts

Vincenzo Bellini: I puritani

I puritani, opera seria in three acts

Vincenzo Bellini: Zaira

Zaira, Tragedia lirica in two acts.

G. F. Handel: Athalia

Athalia: Oratorio (sacred drama) in 3 acts

DONIZETTI: Lucrezia Borgia

Lucrezia Borgia: Melodramma in a prologue and two acts.

BERTIN: La Esmeralda

La Esmeralda: Opéra in four acts.

VERDI: Ernani — Florence 1957

Ernani: Dramma lirico in four parts.

von Waltershausen: Oberst Chabert

Oberst Chabert (Colonel Chabert): Tragic opera in 3 acts.

VERDI: Otello — La Scala 1954

Otello: Dramma lirico in four acts.
Music composed by Giuseppe Verdi. Libretto by Arrigo Boito after The Tragedie of Othello, the Moore of Venice by William Shakespeare.

A Midsummer Night’s Dream

A Midsummer Night’s Dream, a comedy in five acts with incidental music.

HAHN: Le Marchand de Venise

Le Marchand de Venise (“The Merchant of Venice”): Opéra in three acts.

STORACE: Gli Equivoci

Gli Equivoci (The Comedy of Errors): Opera in two acts.

MARTIN: Der Sturm

Der Sturm: Opera in three acts

PURCELL: The Fairy-Queen

The Fairy-Queen: Semi-opera in five acts.

OPERA TODAY ARCHIVES »

Repertoire

Luciano Pavarotti as Tonio
16 Sep 2007

DONIZETTI: La Figlia del Reggimento

La figlia del reggimento [La Fille du régiment (‘The Daughter of the Regiment’)], Opéra comique in two acts.

La Figlia del Reggimento

Maria: Mirella Freni
Tonio: Luciano Pavarotti
Sulpizio: Vladimiro Ganzarolli
Marchesa di Birkenfeld: Anna Di Stasio
La Duchesa di Krakentorp: Maria Grazia Allegri
Ortensio: Walter Monachesi
Un Notaio: Angelo Mercuriali
Un Caporale: Giuseppe Morresi
Un Paesano: Walter Gullino
Orchestra e Coro del Teatro alla Scala, Milan
Nino Sanzogno (cond.)
Live performance, 11 February 1969, Milano.

 

Music composed by Gaetano Donizetti. Libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François-Alfred Bayard, later revised to an Italian translation by Calisto Bassi.

First Performance: 11 February1840, Opéra-Comique (Salle de la Bourse), Paris

(revised version, 3 October 1840, Teatro alla Scala, Milan).

Principal Characters:
Marie (Maria) a vivandière Soprano
Tonio a young Tyrolean Tenor
La Marquise (La Marchesa) de Berkenfeld [The Marchioness] Mezzo-Soprano
Sulpice Pingot (Sulpizio) a sergeant of the 21st regiment Bass
Hortensius (Ortensio) major-domo of the Marchioness Bass
A Corporal Bass
A Notary Spoken
La Duchesse (La Duchessa) de Crackentorp [The Duchess] Spoken
A Valet Spoken

Setting: The Tyrolean countryside and the chateau of the Marchioness, not long after the battle of Marengo, 1800

Synopsis:

Act I

Setting: Outside a Tyrolean village

A group of villagers, expecting to be overrun by the victorious Napoleonic army, is joined by the Marchioness of Berkenfield, whose journey has been interrupted by the fighting. There is relief when they learn that the French have withdrawn, but alarm when Sergeant Sulpice appears, much to his amusement, as his intentions are peaceful. He is joined by Marie, the orphan girl who had been brought up by the regiment since she was a baby and who has just been made the regiment’s vivandiere.

As Sulpice is interrogating her about a strange young man she has been seen with, the soldiers drag him in; he is Tonio, a Tyrolean peasant, who has been found hanging round the camp. Marie saves him from instant execution as a spy by telling the soldiers how he had saved her from falling over a precipice. They immediately hail him as a brother, but as they are summoned by rollcall, Sulpice makes sure Tonio is not left alone with Marie, although she claims him as her prisoner and promises to keep an eye on him.

Tonio manages to give the Sulpice the slip and rejoins Marie, who explains that the regiment are her collective fathers. They confess their love and wander off.

The nervous marchioness explains to Suplice that she wishes to resume her interrupted journey to her castle of Berkenfield. The name reminds him of a former officer, Captain Robert, a name which, in turn, has strong associations for her. She explains that her sister had been married to the captain and their daughter lost. Suplice tells her that the child had been found on the battlefield and is alive and well and her upbringing has fitted her for her role as an heiress - a claim shattered by Marie’s rough-and-ready military vocabulary when she learns that the lady is her aunt. The marchioness wishes to take Marie away with her.

Tonio has decided to join the regiment to be near his beloved. The soldiers, although ready to accept him as a recruit, are dubious about his wish to marry Marie, until he assures them that she loves him. They give their consent, only to learn that Marie must leave them. All express their sorrow.

Act II

Setting: A salon in the castle of Berkenfield

The marchioness has arranged a marriage for Marie with the Duke of Krakentorp and has summoned Sulpice to help her secure Marie’s consent. The marchioness, who believes that Marie has lost her unladylike ways, gives her a singing lesson, but the presence of Sulpice causes her to abandon the sentimental ditty in favour of a rousing regimental song, which he joins in.

The marchioness takes Sulpice aside, and Marie is suddenly surrounded by the regiment, including Tonio, who has been promoted to officer for his courage. Marie sends the soldiers off with the steward to try the cellars, while she and Tonio try to persuade Sulpice to plead their cause with the marchioness. She, however, is unmoved, sending the lovers off in different directions. She admits to Sulpice that Marie is not her niece, but her illegitimate daughter. She has set up the grand marriage to provide Marie with the position and security she cannot legally give her. Sulpice is convinced that the marriage would be in Marie’s best interest. When the dowager Duchess of Krakentrop, mother of the bridegroom, arrives with other guests, she is affronted to find the bride absent. Marie, who now knows the secret of her birth, embraces her mother and prepares to sign the contract, but the soldiers, anxious for their daughter’s happiness, tell the guests that she has been their vivandiere. They are at first scandalised, then charmed by Marie’s sincerity. The marchioness, touched by Marie’s readiness to sacrifice herself, agrees to let her marry Tonio.

[Synopsis Source: Opera~Opera]

Click here for the complete libretto.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):