“Daughter” is a Regimented Revelry
By Flo Mano with Wes Hessel
It’s been half a century since Donizetti’s opéra comiques “The Daughter of the Regiment (La fille du régiment)” trooped onto the Lyric Opera stage – this production, befitting of the military company in question, is triumphant and robust. On the surface Donizetti’s little light lilt, about a Marquise’s foundling daughter raised by a regiment of grenadiers, appears frivolous – yet it has an marvelous life in it, waiting to be unveiled. There is as much emotional force as in the most complex tragedy.
The first act opens in the Tyrolean Mountains during the Napoleonic wars; Sulpice, a sergeant, recalls how the regiment found Marie as an abandoned baby and adopted her as their own daughter. She grows up, along the way falling for the peasant Tonio, who had saved her from disaster at risk of his own life. Her upbringing is then entrusted to the Marquise of Berkenfield at her castle, who teaches her the ways of the aristocrat. The Marquise arranges a marriage of status to the Duke of Crackentorp, but Marie still pines for her love back in her home with the soldiers. Will she go through with the wedding to the titled gentlemen, or hold out for her first love?
Soprano Lisette Oropesa, in her Lyric debut, plays the title “fille”. Her clear, precise, pitch-perfect high notes, and on point staccato rapid trills are breathtaking; her stage presence, as well as her technical ability are impressive. Baritone Alessandro Corbelli as Sergeant Sulpice, the father figure of the regiment, gives an amusing and truthful interpretation. He is suited for the comic buffo role – funny but not clownish, and delivers dignity to the short but important role. Lawrence Brownlee’s tenor Tonino is bursting with exuberance; he makes the role his own, playing all the physical humor for laughs, and broadcasts those high C’s clear as a bell…
Ronnita Miller, as the eccentric aristocrat Marquise of Berkenfield who claims Marie for her heiress, is magnificent in her booming voice. Bass Alan Higgs (Hortensius, the Marquise’s valet) has terrific comic instinct. The Duchess of Crackentorp (Joy Hermalyn, in a spoken-only role) has a dominating presence.
Conductor Speranza Scappucci leads a buoyant account of the score that captures the character of the piece, balancing humor with energy, as does Christian Räth’s directorship. Chantal Thomas’ set design features a larger-than-life military map motif across the stage for the first act, and the castle design for the second act of a paneled angled drawing room is most effective. Karine Girard’s choreography, from the battlefield to the ballroom, makes creative use of the male chorus in their synchronized movements.
This stirring staging has charm and substance – the splendid cast’s demanding, convincing acting and vocals enthralls and entertains the audience adroitly, making this an unforgettable evening of opera. The regiment marches on November 25th, however, so double-time to www.lyricopera.org for tickets or more information.
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