Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.

Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury

Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.

Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome

At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.

Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome

Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.

Die Zauberflöte brings mixed delights at the Royal Opera House

When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?

Haydn's La fedeltà premiata impresses at the Guildhall School of Music & Drama

‘Exit, pursued by an octopus.’ The London Underground insignia in the centre of the curtain-drop at the Guildhall School of Music & Drama’s Silk Street Theatre, advised patrons arriving for the performance of Joseph Haydn’s La fedeltà premiata (Fidelity Rewarded, 1780) that their Tube journey had terminated in ‘Arcadia’ - though this was not the pastoral idyll of Polixenes’ Bohemia but a parody of paradise more notable for its amatory anarchy than any utopian harmony.

Van Zweden conducts an unforgettable Walküre at the Concertgebouw

When native son Jaap van Zweden conducts in Amsterdam the house sells out in advance and expectations are high. Last Saturday, he returned to conduct another Wagner opera in the NTR ZaterdagMatinee series. The Concertgebouw audience was already cheering the maestro loudly before anyone had played a single note. By the end of this concert version of Die Walküre, the promise implicit in the enthusiastic greeting had been fulfilled. This second installment of Wagner’s The Ring of the Nibelung was truly memorable, and not just because of Van Zweden’s imprint.

Purcell for our time: Gabrieli Consort & Players at St John's Smith Square

Passing the competing Union and EU flags on College Green beside the Palace of Westminster on my way to St John’s Smith Square, where Paul McCreesh’s Gabrieli Consort & Players were to perform Henry Purcell’s 1691 'dramatic opera' King Arthur, the parallels between England now and England then were all too evident.

The Dallas Opera Cockerel: It’s All Golden

I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.

Luisa Miller at Lyric Opera of Chicago

For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.

Philip Glass: Music with Changing Parts - European premiere of revised version

Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).

Wexford Festival Opera 2019

The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.

Cenerentola, jazzed to the max

Seattle Opera’s current staging of Cenerentola is mostly fun to watch. It is also a great example of how trying too hard to inflate a smallish work to fill a huge auditorium can make fun seem more like work.

Bottesini’s Alì Babà Keeps Them Laughing

On Friday evening October 25, 2019, Opera Southwest opened its 47th season with composer Giovanni Bottesini and librettist Emilio Taddei’s Alì Babà in a version reconstructed from the original manuscript score by Conductor Anthony Barrese.

Ovid and Klopstock clash in Jurowski’s Mahler’s ‘Resurrection’

There were two works on this London Philharmonic Orchestra programme given by Vladimir Jurowski – Colin Matthews’s Metamorphosis and Gustav Mahler’s ‘Resurrection’. The way Jurowski played it, however, one might have been forgiven for thinking we were listening to a new work by Mahler, something which may not have been lost on those of us who recalled that Matthews had collaborated with Deryck Cooke on the completion of Mahler’s Tenth Symphony.

Birtwistle's The Mask of Orpheus: English National Opera

‘All opera is Orpheus,’ Adorno once declared - although, typically, what he meant by that was rather more complicated than mere quotation would suggest. Perhaps, in some sense, all music in the Western tradition is too - again, so long as we take care, as Harrison Birtwistle always has, never to confuse starkness with over-simplification.

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?

OPERA TODAY ARCHIVES »

Performances

Natalie Dessay as Marie and Juan Diego Flórez As Tonio [Photo by The Royal Opera / Bill Cooper]
20 May 2010

La Fille du régiment, Royal Opera

Expectations were running high for the opening night of Elaine Kidd’s revival of Laurent Pelly’s production of Donizetti’s mad-cap romp, La Fille du regiment — almost as high as Tonio’s infamous top Cs.

Gaetano Donizetti: La Fille du régiment

Conductor: Bruno Campanella;Tonio: Juan Diego Flórez; Marie: Natalie Dessay; Sulpice: Alessandro Corbelli; La Marquise de Berkenfeld: Ann Murray; Hortensius: Donald Maxwell; La Duchesse de Crackentorp: Dawn French. Director: Laurent Pelly. Associate Director/Dialogue: Agathe Mélinand. Revival Director: Elaine Kidd. Set Designer: Chantal Thomas. Costume Designer: Laurent Pelly. Lighting Designer: Joël Adam. Choreography: Laura Scozzi. Royal Opera House, Covent Garden. Monday 17th May 2010.

Above: Natalie Dessay as Marie and Juan Diego Flórez As Tonio

All photos by The Royal Opera / Bill Cooper

 

First staged to glorious reviews in 2007, in fact this co-production with the Vienna State Opera and the Metropolitan Opera, New York, has seldom been ‘out-of-production’ during the last two years; but Covent Garden has reassembled almost all the members of the original stellar cast, re-uniting French soprano, Natalie Dessay, as the gamine, gambolling Marie, with Juan Diego Flórez’ charming, heart-winning Tonio.

Even by the standards of 1840s opéra comique, the libretto is wildly implausible. But Pelly relishes the improbabilities and excesses, envisaging Donizetti’s trifle as a Gilbert & Sullivanesque caper; his staging abounds with visual gags which inject much energy humour into the text, which is itself enlivened by some smart one-liners (‘It’s raining soldiers’) and a co-mingling of English and French which neatly complements the franglais accents on stage. Certainly, the manic visual stimuli — lines of dancing long-johns, balletic dusting routines, a coup de théâtre tank - deftly keep at bay any potential dramatic languors; but, while satire is undoubtedly a vital element of the genre there is perhaps a danger that Pelly’s farce indulges in just a touch too much self-ridicule — surely Donizetti is sincere in his flippancy and frivolity?

As the regiment’s adopted daughter/skivvy, Natalie Dessay is certainly committed: from her first entrance — stumbling beneath a toppling mound of regimental laundry — she flounces and flops, stamps and strops, wildly throwing herself around the stage in a ceaseless comic routine à la Chaplin. Not afraid to squawk and screech, she savours the dialogue, spitting out Gallic ‘Merde!’s a-plenty, and confirms her reputation as one of the finest actors currently on the operatic stage. This is fast becoming a signature role — and indeed it is hard to imagine this production without Dessay — but there some alarming signs of dramatic and vocal wear-and-tear. Her comic timing may be exemplary, with coloratura pinging perfectly to a twang of the braces; and the top Ds and Es may ring true and clear even as she is tossed and twirled by her military ‘daddies’; but the price to pay for such a breath-taking performance may literally be the taking of Dessay’s breath. On more than one occasion she seemed exhausted by her own exuberance and, worryingly, in quieter moments her voice became rather pale, on occasion fading completely. Punching out the regimental song as she darted up and down the map-inscribed mountains of Chantal Thomas’s Act 1 set, Dessay effectively captured the drive and ambition of the military milieu, but if familiarity breeds excess and exaggeration, there is a danger that her performance could become a caricature of itself.

If Dessay never quite attained a true bel canto lyricism, Juan Diego Flórez’ light, high tenor is perfect for this part. Nonchalant leaps to the 9 successive high Cs in ‘Ah, mes amis’ were more than matched, even outshone, by a moving, tender declaration of love in his Act 2 aria, ‘Pour me rapprocher de Marie’. Although the voice is a little unyielding, the homogenous, even beauty of tone is astonishing, and it was hard to believe that the sweet, tenderness of the daringly hushed closing phrase could fail to touch the heart of the daughter-denying Marquise de Berkenfeld.

LA-FILLE-BC20100514204-(C)B.gifDawn French as La Duchesse De Crackentorp and Ann Murray as La Marquise De Berkenfeld

For all Pelly’s attention to dramatic detail, there was however a disappointing absence of genuine ‘chemistry’ between the star pair. Fortunately, Ann Murray’s self-important Marquise and Alessandro Corbelli’s soft-hearted Sulpice more than made up for this lack of erotic spark, with masterly embodiments of haughty elegance and paternal indulgence respectively. Her voice may lack some of its former sheen, but Murray knows how to command a stage and her entrance aria, 'Pour une femme de mon nom', was instantly engaging and convincing. Amusingly accompanying Dessay at the piano during the singing-lesson scene, she more than matched the master Corbelli for comic timing.

Queen of TV comedy, Dawn French, in the speaking role of the Duchess de Crackentorp, reprised her Vicar of Dibley trademarks, eliciting laughs by the mere raising of the eyebrow and stopping just a whisker short of overkill. Donald Maxwell as Hortensius completed the ‘dream cast’. They were complemented by a superb male chorus, although their female counterparts, admittedly less busy, were not quite up to the rest of the regiment’s mark.

LA-FILLE-BC20100514024-CORB.gifAlessandro Corbelli as Sulpice Pingot

Bruno Campanella conducted a rather scruffy performance from the Royal Opera House orchestra: although the pit-stage balance was excellent, the tempi were a bit ragged, and cast and band were occasionally out-of-step. However, things tightened up in the second Act, and a stunning solo ’cello introduced Dessay’s ‘C’en est donc fait’.

Florez’ light elegance shows no signs of waning, but Dessay can surely not reprise this role indefinitely. Although her Marie is at times less hyperactive tomboy and more hysterical Lucia, this is not a show to miss. Grab a ticket — even if you have to mount a military campaign to hunt one down.

Claire Seymour

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):