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La Fille Du Régiment GAETANO DONIZETTI la fille du régiment conductor Opera in two acts Enrique Mazzola Libretto by Jules-Henri Vernoy de Saint- production Laurent Pelly Georges and Jean-François-Alfred Bayard set designer Thursday, February 7, 2019 Chantal Thomas 7:30–10:10 PM costume designer Laurent Pelly First time this season lighting designer Joël Adam choreographer Laura Scozzi The production of La Fille du Régiment associate director AND dialogue was made possible by a generous gift Agathe Mélinand from The Annenberg Foundation revival stage director Christian Räth The revival of this production is made possible by a gift from Mrs. Jayne Wrightsman La Fille du Régiment general manager is a co-production of the Peter Gelb Metropolitan Opera; the Royal Opera House, jeanette lerman-neubauer Covent Garden, London; and the music director Yannick Nézet-Séguin Wiener Staatsoper, Vienna. 2018–19 SEASON The 110th Metropolitan Opera performance of GAETANO DONIZETTI’S la fille du régiment conductor Enrique Mazzola in order of appearance hortensius the duchess of Paul Corona krakenthorp Kathleen Turner DEBUT the marquise of berkenfield notary Stephanie Blythe* Yohan Belmin a townsman Patrick Miller sulpice Alessandro Corbelli marie Pretty Yende tonio Javier Camarena This performance is being broadcast a corpor al live on Metropolitan Yohan Yi Opera Radio on SiriusXM channel 75 and streamed at metopera.org. Thursday, February 7, 2019, 7:30–10:10PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Donizetti’s La Fille Musical Preparation Pierre Vallet, Carol Isaac, du Régiment Marie-France Lefebvre, and Bryan Wagorn* Assistant Stage Directors Gregory Keller and Jonathon Loy Prompter Carol Isaac Stage Band Conductor Jeffrey Goldberg Scenery, properties, and electrical props constructed and painted in Royal Opera House Production Department and Metropolitan Opera Shops Costumes, hats, headdresses, dyeing, and jewelry by Royal Opera House Production Department and Metropolitan Opera Costume Shop Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance is made possible in part by public funds from the New York State Council on the Arts. Before the performance begins, please switch off cell phones and other electronic devices. * Graduate of the Lindemann Young Artist Development Program Yamaha is the Official Piano of the Met Titles Metropolitan Opera. To activate, press the red button to the right of the screen in front of your seat and follow the instructions provided. To turn off the display, press the red button once again. If you have questions, please ask an Visit metopera.org usher at intermission. 2018–19 Clémentine Margaine in the title role of Bizet’s Carmen e Metropolitan Opera is pleased to salute Bloomberg in recognition of its generous support during the 2018–19 season. PHOTO: MARTY SOHL / MET OPERA Bloomberg_1819_DedicationSignage_PLAYBILL.indd 1 10/17/18 4:15 PM Synopsis Act I Swiss Tyrol during the First World War. On their way to Austria, the terrified Marquise of Berkenfield and her butler, Hortensius, have paused in their journey because the French army is blocking their way. When the marquise hears from villagers that the French troops have at last retreated, she comments on the rude manners of the French people. Hortensius asks Sulpice, sergeant of the 21st regiment, to let the marquise continue on. Soon, Marie, the mascot—or “daughter”—of the regiment, which adopted her as an orphaned child, returns to the camp. When Sulpice questions her about a young man with whom she has been seen, she explains that he is a local Tyrolean who—though an enemy— once saved her life. Troops of the 21st arrive with a prisoner: this same Tyrolean, Tonio, who says that he has been looking for Marie. She steps in to save him, and while he toasts his new friends, Marie sings the regimental song. The soldiers force Tonio out of their ranks, but he escapes and returns to declare his love to Marie. Sulpice surprises them, and Marie must admit to Tonio that she can 2018–19 only marry a soldier from the 21st. The marquise returns and asks Sulpice for an escort to return her to her castle. When he hears the name Berkenfield, Sulpice Clémentine Margaine in the title role of Bizet’s Carmen remembers a letter that he discovered near the young Marie when she was found. The marquise soon admits that she knew the girl’s father and says that Marie is the long-lost daughter of her sister. The child was in the marquise’s care but was lost on a battlefield. Shocked by the girl’s rough manners, the marquise is determined to give her niece a proper education at her castle. As Marie says goodbye to the soldiers, she learns that Tonio has enlisted so that he can marry her. She has to leave both her regiment and the man that she loves. e Metropolitan Opera is pleased to salute Intermission (aT APPROXIMATELY 8:50PM) Bloomberg in recognition of its generous support during the 2018–19 season. Act II At home, the marquise has arranged a marriage between Marie and Scipion, nephew of the Duchess of Krakenthorp. Sulpice is also at the castle, recovering from an injury, and is supposed to be helping the marquise with her plans. The marquise leads Marie in a singing lesson, accompanying her at the piano. Encouraged by Sulpice, Marie slips in snatches of the regimental song, causing the marquise to lose her temper. Left alone, Marie thinks about the meaninglessness of money and position. She hears soldiers marching in the distance and is delighted when the whole regiment files into the hall. Tonio, Marie, and Sulpice are reunited. Tonio asks for Marie’s hand, declaring that Marie is his whole life, but the marquise, unmoved, declares her niece engaged to another man. When Tonio threatens to reveal a secret from her past, the marquise hurriedly dismisses the young man. Alone with Sulpice, the marquise confesses the truth: Marie is her own illegitimate daughter whom she abandoned, PHOTO: MARTY SOHL / MET OPERA Visit metopera.org 35 Bloomberg_1819_DedicationSignage_PLAYBILL.indd 1 10/17/18 4:15 PM Synopsis CONTINUED fearing social disgrace. Hortensius announces the arrival of the wedding party, headed by the Duchess of Krakenthorp. Marie refuses to attend the ceremony, but when Sulpice tells her that the marquise is actually her mother, the surprised girl declares that she cannot go against her mother’s wishes and agrees to the wedding. As she is about to sign the marriage contract, the soldiers of the 21st regiment, led by Tonio, storm in to rescue their “daughter.” The noble guests are horrified to learn that Marie was a canteen girl, but they change their opinion when she tells them that she can never repay the debt she owes the soldiers. The marquise is so moved by her daughter’s goodness of heart that she gives her permission to marry Tonio, and everyone, aside from the outraged duchess, rejoices. La Fille du Régiment on Demand Looking for more La Fille du Régiment? Check out Met Opera on Demand, our online streaming service, to enjoy other outstanding performances from past Met seasons, including the 2008 Live in HD transmission of Laurent Pelly’s madcap staging and a 1973 radio broadcast starring Joan Sutherland and Luciano Pavarotti, the beloved “King of the High Cs.” Start your seven-day free trial and explore the full catalog of nearly 700 complete performances at metoperaondemand.org. 36 In Focus Gaetano Donizetti La Fille du Régiment Premiere: Opéra Comique, Paris, 1840 This frothy comedy mixes humor with a rush of buoyant melody and impressive vocal pyrotechnics. The story concerns a young orphan girl raised by an army regiment 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 music to come across in an uninhibited way. A clever score and winning libretto make for an appealing vehicle for world-class singing. The Creators Bergamo-born Gaetano Donizetti (1797–1848) composed about 75 operas, plus orchestral and chamber music, in a career abbreviated by mental illness and premature death. Apart from the ever-popular Lucia di Lammermoor and the comic gems L’Elisir d’Amore and Don Pasquale, most of his works disappeared from public view after his death. But critical and popular opinion of his huge opus has grown considerably over the past 50 years. The librettist Jules-Henri Vernoy de Saint-Georges (1799–1875) was a dramatist and the manager of the Opéra Comique. He also wrote the libretto for the enduringly popular ballet Giselle and was a frequent collaborator of the most successful theatrical personalities of his day. His co-librettist, Jean-François-Alfred Bayard (1796–1853), wrote more than 200 plays for the French theater. The Setting The opera is set in the Tyrol, a picturesque mountain landscape. The Met’s production places the action during the First World War. The Music Donizetti’s score is a deft combination of jaunty military tunes (including some actual French regimental songs from the composer’s era), brisk comic numbers, enormously graceful ensembles and vocal solos, and sparkling arias. The winsome appeal of the music prejudiced some critics of the time, notably Hector Berlioz, and for many years “serious” musicologists were dismissive of Donizetti’s work. Today, the composer’s ingenious knack for vocal writing and his gift for melody are widely acknowledged. Not many singers have the technical ability and theatrical presence to deliver the famous fireworks arias (notably the Visit metopera.org 37 In Focus CONTINUED soprano’s Act I “Chacun le sait” and the tenor’s Act I “Ah! Mes amis … Pour mon âme,” famous for its nine high Cs).
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