La Fille Du Régiment
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LELELELE BUGUE BUGUEBUGUEBUGUE Salle Eugène Le Roy Réservation : Maison de la Presse Le Bugue 05 53 07 22 83 Gaetano Donizetti LA FILLE DU RÉGIMENT Orpheline, Marie was taken in by Sergeant Sulpice, who employs him as a cantinière in his regiment. Crazy in love with Marie, the young peasant Tonio engages in the battalion to see her every day. When the Marquise of Berkenfield reveals the true identity of Mary, who is her daughter, the young woman could be separated forever from Tonio. Acclaimed by the lyric press, South African soprano Pretty Yende returns to the stage of the Met opposite the tenor Javier Camarena for an opera of great vocal virtuosity under the baton of Enrique Mazzola. The alchemist Donizetti's expertise once again acts with this unique blend of melancholy and joy. Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis … Pour mon âme,” with its nine high Cs. Alessandro Corbelli and Maurizio Muraro trade off as the comic Sergeant Sulpice, with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. And in an exciting piece of casting, stage and screen icon Kathleen Turner makes her Met debut in the speaking role of the Duchess of Krakenthorp. Enrique Mazzola conducts. Conductor Marie Marquise Enrique Pretty Stéphanie Mazzola Yende Blythe soprano Mezzo soprano Duchess Tonio Sulpice Kathleen Javier Maurizio Turner Camarena Muraro actress tenor Bass Production : Laurent Pelly DATE : 2nd March 2019 Time : 6.25pm Opera en 2 acts by Giacomo Puccini LA FILLE DU RÉGIMENT World Premiere : Opéra Comique, Paris, 1840. This frothy comedy mixes humor with a rush of buoyant melody and notorious vocal challenges. The story concerns a young orphan girl raised by an army regiment as their mascot and begins at the moment of her first stirrings of love. Complications (and comedy) ensue when her true identity is discovered. The action is startlingly simple and unencumbered by intricate subplots, allowing the full charm of the characters and their virtuosic music to come across in an uninhibited way. Setting The opera is set in the Tyrol, a picturesque mountain landscape. The Met’s production places the action during the First World War. Music Donizetti's score is a clever combination of light military melodies, striking comic book numbers, extremely graceful ensembles and vocal solos, and airy airs. Few singers have the technical ability and theatrical presence to deliver the famous fireworks tunes (including Act I of the soprano "Everybody Knows It" and Act I of the tenor "Ah, my friends," with its nine famous C high). However, the lyrical beauty and pathos of the slower melodic jewels are just as important (the soprano's "I must go" in Act I and the "To bring me closer to Mary" in Act II). Faithful to the spirit of comic opera, in The Girl of the Regiment, it is the vaudeville spirit that dominates through the superposition of actions that manifests itself especially in the absence of true soloists. Indeed, all "solo" numbers (such as Tonio's cavatin and Marie's romance in the finale of the first act) are interrupted by short interventions by other characters in the air (so-called interrupts). perticchini). The librettists also play with the conventions of the genre by integrating a double reading of their text through subtle allusions to the dramatic conventions of the genre. On the musical level, Donizetti broke away from his Italian influences to write in the style of French comic opera, as attested by the trio of Act II with its accompanied melody supported by orchestral pumps (or bass figures). mechanical, that is to say, repetitive), stylized dance rhythms and a vocal range (a gap between the highest note and the lowest note of singing) that restricts any acrobatic virtuosity. To vary the musical artifices, Donizetti incorporates into his opera other conventions such as that of the great historical opera or Italian bel canto. In the lineage of the first, the opera begins with a politico-military event: that of French troops advancing. Musically, this introduction has inflections of Meyerbeer with his guns, his drums and his use of litanies. This analogy is also verified in the contrasting musical writing between the hero and the crowd (as in the finale of Act I) made possible by a dramaturgy of the instrumental material, that is to say by a clear association of stamps orchestral with the hero or with the crowd. Finally, the influence of the bel canto Italian which is particularly remarkable in the vocal treatment of the character of Mary. In her romance (finale, act I), Marie transforms herself into a beloved heroine who dialogue with the instrument that best expresses melancholy: the English horn. Similarly, in his only act of the second act ("It is done"), the character of Mary is treated in a beautiful cantiste with the appearance of vocalises and trills, a voice port (filling by voice of the difference between two notes) between the different melodic phrases and very expressive vocal lines. Composer Gaetano Donizetti 1797-1848 Born into a poor family of Bergamo, son of an employee, Gaetano Donizetti devotes himself to the musical career despite a father who intends him to the bar. Luckily, there was in Bergamo an important composer of the earlier generation: Simon Mayr, chapel master of the basilica. Thanks to grants from the Pious Institute of Misericordia Maggiore, the latter had instituted Charitable Music Lessons to which Donizetti was admitted in April 1806. He was then 8 years old. He studied for nine years under the direction of Mayr, who obtained, in October 1815, to send him to the Philharmonic High School in Bologna to study counterpoint and fugue under the direction of the best teacher of the time, Father Stanislao Mattei, also the master of Rossini (five years older than Donizetti). While composing, under the direction of Mattei, religious pieces of a strict style, Donizetti gives Bologna, in September 1816, his first opera, The Pygmalion, which will be represented in 1960. Back in his hometown he holds a position at the church of Santa Maria Maggiore. His career as an opera composer officially began on November 14, 1818 with the creation of Enrico di Borgogna at the Teatro San Luca in Venice. The young composer has his first success with his next work, Zoraide di Granata, composed with the help of Mayr and represented on January 28, 1822 at Teatro Argentina in Rome. On this occasion, Donizetti shows the extreme speed that characterizes it because it must rewrite much of the score a few days before the first, following the death of one of the main performers. In Rome, he meets Jacopo Ferretti and the Vasselli family. Ferretti gives him the libretto of an opera-bouffe, the ajo nell'imbarazzo, which is represented with great success at the Teatro Valle on February 4, 1824 and is considered the first small masterpiece of Donizetti in the comic genre. From 1818 to 1828, Donizetti composed 19 operas, several of which were a real success: Elvira, Alfredo the Great, Olivo e Pasquale, Alahor in Granata, Chiara e Serafino, etc. But it was in Naples, where he settled after his marriage to Virginia Vasselli in Rome on June 1, 1828, that he got his first real "triumph" with L'esule di Roma (1828). With an unusual creativity and work force, he begins to chase successes. On December 26, 1830, he triumphed at the Teatro Carcano in Milan with Anna Bolena, the first of which had a prestigious cast, including Giuditta Pasta and Giovanni Battista Rubini. The opera was not long in being taken up in Paris (first work of the composer created in this city, in September 1831), in London, in Madrid, in Dresden and even in Havana. He triumphed again on May 12, 1832 with L'elisir d'amore, represented at the Teatro della Canobbiana in Milan. These successes earned him the title of master of the chapel and professor of composition at the Real Collegio (conservatory) in Naples on June 28, 1834, and in 1836 he was appointed master of counterpoint at the same conservatory. In 1835, at the invitation of Rossini, Donizetti went to Paris where he played at the Theater of the Italians Marin Faliero (March 12). In April, he was knighted by the Legion of Honor by King Louis-Philippe. Back in Naples, he won a memorable triumph at the Teatro San Carlo with Lucia di Lammermoor, his most famous work, composed in just six weeks. The death of his wife on July 30, 1837, plunged him into a deep depression. On October 29, however, he had a new masterpiece, Roberto Devereux, still in San Carlo. The following year, the ban of Poliuto by the Neapolitan censorship and the spite of not having obtained to be named officially director of the conservatory after the death of Zingarelli, while he already held this function ad interim, convince him to leave Naples and settle in Paris. Moreover, since the death of his wife, nothing keeps him in this city. Collaborating with Eugène Scribe and other librettists like Alphonse Royer, Gustave Vaëz or Vernoy de Saint-Georges, he creates a series of operas some of which have become classics of the world lyric repertoire: Les Martyrs ou Poliuto (1840), from Polyeucte de Corneille La Fille du régiment (1840) La Favorite (1840) Rita ou le Mari battu (composed in 1841 but only created, posthumously, in 1860) Don Pasquale (1843) Dom Sébastien, roi de Portugal (1843), « greath opera » composed in two month.