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

Susannah Biller as Marie and Stefano De Peppo as Sergeant Sulpice [Photo by Tim Trumble for Arizona Opera]
13 Apr 2015

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

A review by Maria Nockin

Above: Susannah Biller as Marie and Stefano De Peppo as Sergeant Sulpice

Photos by Tim Trumble for Arizona Opera

 

While in Paris working on the French versions of his other operas, Gaetano Donizetti took some time to write an opéra-comique, La Fille du Régiment (The Daughter of the Regiment). Its French text is by Jean-François Bayard, a nephew of the famous librettist Eugène Scribe, and the prolific but rather old fashioned Jules-Henri Vernoy de Saint-Georges.

After its premiere at the Opéra-Comique on February 11, 1840, Marie-Julie Halligner, who sang the Marquise of Berkenfeld, said that the performance was "a barely averted disaster" because the tenor was frequently off pitch. French critic and composer Hector Berlioz claimed that the new work could not be taken seriously, but in all probability his opinion was colored by jealousy. During a single year, Donizetti had two works performed at the Opéra, two at the Théâtre de la Renaissance, two at the Opéra-Comique, and one at the Théâtre-Italien.

La Fille du Régiment soon became popular at the Opéra-Comique and it achieved its thousandth performance within seventy years. One of the reasons for its success was the aria that defeated the premiere’s tenor, Mécène Marié de l'Isle. "Ah! Mes amis, quel jour de fête!” ("Ah, my friends, what an exciting day"), is best known for containing nine high Cs.

DofR PORTILLO reg  BILLER N REG snd 11.pngDavid Portillo as Tonio, Susannah Biller as Marie with Regiment including Stefano De Peppo as Sergeant Sulpice

On March 7, 1843, the first American performance of Fille took place at the Théâtre d'Orléans in New Orleans. It was so successful there that the company brought the opera to New York City where it was highly praised by local newspapers. As time went on, artists such as Jenny Lind, Henriette Sontag, Adelina Patti, Lily Pons, and Joan Sutherland enjoyed singing the role of Marie.

On April 10, 2015, Arizona Opera finished its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Tenor David Portillo, who has a beautiful lyric sound, had no difficulty reaching the nine high Cs in the famous aria. As lively and buoyant as Biller, bass Stefano de Peppo was a nimble, hilariously funny Sergeant Sulpice who sang with a colorful, robust voice. Donizetti did not often write major roles for lower women’s voices but the comedic Marquise of Berkenfeld is an exception. Mezzo Margaret Gawrysiak played her part broadly and showed her true vocal ability in her aria, “Pour une Femme de mon Nom” (“For a Woman with my Name”).

Arizona Opera Young Artist Program member Calvin Griffin has become a valuable member of the company. A lithe and limber comedian, he made an attentive Hortensius. Chris Carr was an amusing corporal while actress Didi Conn was an entertaining Duchess of Krakenthorpe. Like many other operas of this era, Fille has a great deal of choral music. Henri Venanzi’s singers conveyed in idiomatic French style and grace.

Right from the opening notes of the overture, the audience knew that conductor Keitaro Harada was putting his individual stamp on this piece. He combined Donizetti’s delightful melodies with dramatic musical coherence. His dynamic range was huge and he kept the playing transparent so that listeners heard all the melodic strands in the fabric of the score. This was one of the best shows of the year at Arizona Opera and it leaves us waiting with bated breath for next season. Personally, I can’t wait for Emmerich Kálmán’s operetta, Arizona Lady, a piece that has never before been seen in Arizona.

Maria Nockin


Cast and production information:

Marie, Susannah Biller; Tonio, David Portillo; Sergeant Sulpice, Stefano De Peppo; The Marquise, Margaret Gawrysiak; Hortensius, Calvin Griffin; Corporal, Chris Carr; Duchess of Krakenthorpe, Didi Conn; Notary, Ian Christiansen; Peasant, Justin Carpenter; Conductor, Keitaro Harada; Stage Director, John de los Santos; Scenic Design, Boyd Ostroff; Lighting Designer, Douglas Provost; Chorus Master, Henri Venanzi; Dancers, Phoenix Ballet; Supertitles, Keith Wolfe.

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):