The Daughter of theRegiment Gaetano Donizetti THEATER 16/17 One Hundredth Program of the 2016-17 Season _______________________ Indiana University Opera Theater presents as its 449th production La Fille du Régiment (The Daughter of the Regiment) Opéra Comique in Two Acts Music by Gaetano Donizetti Libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard Marzio Conti, Conductor Michael Shell, Stage Director Allen Moyer, Set and Costume Designer Patrick Mero, Lighting Designer Walter Huff, Chorus Master Jennifer Ringo, Diction Coach Daniela Siena, Supertitles Author Production originally designed for and created by The Santa Fe Opera _________________ Musical Arts Center Friday, September Sixteenth Saturday, September Seventeenth Friday, September Twenty-Third Saturday, September Twenty-Fourth Seven-Thirty O’Clock music.indiana.edu Cast of Characters Friday, September 16 Saturday, September 17 Saturday, September 24 Friday, September 23 Marie . Kellie Motter Monica Dewey Tonio . Nicholas Nesbitt Terrence Chin-Loy Sergeant Sulpice . Zachary Coates Bruno Sandes Marquise of Birkenfeld . Gretchen Krupp Olivia Thompson Hortensius . Quinn Galyan Steven Garza Duchess of Krakenthorp . Eileen Jennings Eileen Jennings Peasant . .Thomas Drew Thomas rewD Corporal . Jóhann Schram Reed Jóhann Schram Reed Notary . .Vincent Festa Vincent Festa Supernumeraries . Nicholas Gray Nicholas Gray Jared Kelly Jared Kelly Opera Chorus Soprano I Soprano II/Alto (cont.) Baritone/Bass Sarah Beglen Therese Pirçon Milan Babic Alyssa Dessoye Elizabeth Sorrells Justin Brunette Kelly Hamm Crystal Vanrell Jonathan Bryan Rebekah Howell Samuel Chiba Annika Mauss Te nor Mitchell Jones Esther Schneider Bradley Bickhardt Ian Murrell Jessica True Thomas Drew Jóhann Schram Reed Vincent Festa Benjamin Seiwert Soprano II/Alto Edward Graves Benjamin St.John Lindsay Allen Kole Howie Stephen Walley Rachael Banach Joseph Ittoop Jeremy Weiss Liz Culpepper Gabriel Ma Brianna Holt Justin Stolz Mandy Lyons Leo Williams Marlen Nahhas Setting the Stage: Philanthropy at Work As you enjoy this evening’s performance of Gaetano Donizetti’s The Daughter of the Regiment, please take a moment to look around at the awesome wonder that is the Musical Arts Center . Its offerings drive the cultural life of a broad geographic region—inspiring an appreciation, understanding, and love for the arts while laying the foundation for countless international musical careers, giving inspiration to many artists who actively build cultural communities around the world . The realization of the wonder of this environment is thanks to the hard work and foresight of many individuals under the leadership of then-Jacobs School of Music dean Wilfred C . Bain . Standing prominently among them is Ted Jones, professor emeritus of the IU Jacobs School of Music . It was Ted who drew the first plans for the MAC, in 1958, after extensively researching the most eminent opera houses in the United States and abroad . His influence on it has set the facility apart from its peers, ensuring that its functionality and infinite potential define it as a one-of-a-kind facility—limited only by the imagination and creativity of those who cross its threshold . As a part of For All: The Indiana University Bicentennial Campaign, Ted established an endowment to name the executive director of production position at the Musical Arts Center, an act that would forever link him to a place to which he is so inextricably connected . “Ted Jones’ gift is remarkable, a reflection of his love for production in the Musical Arts Center and the people who make it possible,” said Gwyn Richards, Jacobs School of Music David Henry Jacobs Bicentennial Dean . “Now the executive director position will bear his name, a reminder to us all of the role Ted himself played in developing what we now take for granted, the magic that occurs nightly in the Musical Arts Center ”. “Ted Jones’ endowment of this directorship goes beyond the incredible generosity of the gift itself,” said Timothy Stebbins, the first Ted Jones Executive Director of Production . “For this investment to come from someone who not only served the Jacobs School as a faculty member, but was also on the forefront of the development and evolution of the Musical Arts Center, underscores the importance of Ted’s legacy . It also allows us to honor his tremendous contribution to our field ”. Tonight, please join us in thanking Ted Jones, whose act of philanthropy—and sheer love of and dedication to the performing arts—will forever be connected to the Musical Arts Center . Pictured above: Timothy Stebbins (l) and Ted Jones (r). Synopsis Time: The Napoleonic Wars, early nineteenth century Place: The Swiss Tyrol Act I The Marquise of Berkenfield is traveling in the Tyrols with her companion Hortensius . There is fighting all around and she fears, as do the villagers in nearby towns, for their lives . But all rejoice as it seems the French army is retreating . Alas, war is a terrible thing to endure for a lady of such standing as herself, sings the Marquise . Suddenly, who should appear but Sergeant Sulpice of the Twenty-First Regiment of the French army, who, although the villagers and the Marquise are alarmed, assures them that the French army shall restore peace and order to the region . Marie, the canteen girl and beloved mascot of the regiment enters . Sulpice, whom she claims as one of her adopted fathers, is pleased to see her but concerned because she has been seen with a young man whom she identifies as Tonio, a young Tyrolean . At that moment, Tonio is brought in as a prisoner of the soldiers who have captured him prowling around the camp . The soldiers call for his death, but Marie saves him by explaining that he had saved her life when she fell while mountain climbing . The soldiers all rejoice and congratulate Tonio, who pledges allegiance to France as Marie sings the regimental song . Sulpice leads his soldiers and Tonio off, but Tonio breaks away and returns to Marie, who tells him that if she is to be with him she must have the approval of her adopted fathers . the entire regiment . After all, she says, it was the regiment that found her on the battlefield as a baby and adopted and cared for her during her childhood . While at first skeptical of Tonio’s intentions, the young couple nonetheless express their love for each other . Sulpice meets the Marquise and Hortensius and upon hearing the name Berkenfield, recognizes it from a letter found with Marie as an infant . It is determined that she is Marie’s long-lost aunt, who now insists upon taking Marie home with her to be raised as a “proper lady ”. As Marie is preparing to leave with her aunt, Tonio arrives, having enlisted in the regiment and proclaiming his love for Marie and his intentions to marry her . The regiment informs him that she is leaving, and Tonio becomes enraged . Act II Marie has been living in the Marquise’s castle for several months . In a conversation with Sulpice, the Marquise describes how she has been grooming Marie to marry her nephew, the Duke of Crakentorp . The Marquise asks Sulpice to help Marie accept her fate, and ultimately Marie agrees to the marriage . Marie is reconciled to her fate, when, unexpectedly, the regiment arrives with Tonio, now an officer . All are joyfully reunited, when the horrified Marquise enters . Tonio asks for Marie’s hand in marriage, as he has risked his life to join the regiment so they can be together . The Marquise scornfully rebukes him, and all leave saddened by her refusal to allow the marriage . It is when Sulpice is alone with the Marquise that the truth is revealed: Marie is actually the illegitimate daughter of the Marquise . Learning this, Sulpice agrees that Marie must obey her mother’s wishes and marry the Duke of Crakentorp . Proud supporter of INDIANA UNIVERSITY Opera & Ballet and the spectacular performance of TheDaughter of theRegiment smithville.com The Duchess of Crakentorp and her nephew arrive, and Marie enters with Sulpice . Marie, knowing now about the Marquise, embraces her and decides she must obey . But at the last minute the soldiers of the Regiment rush in and sing about how their little daughter needs their help . They sing of how war threw into their arms a baby whom they all love and care for as fathers . When it is revealed that she was a canteen girl, the Duchess becomes enraged and leaves as Marie in turn sings about her debt to the regiment . The Marquise is moved deeply, admits to all that she is the mother of Marie, and consents to her marriage to Tonio . Program Notes “Donizetti, Paris, and La Fille du Régiment (The Daughter of the Regiment)” by Kirby Haugland (Musicology Ph.D. Student) Gaetano Donizetti arrived in Paris in 1838, freed from a stifling life in Naples . His latest compositions had been censored by the king, he had failed to receive an expected appointment as director of the Naples Conservatory, and he was still reeling from the loss of his wife and newborn child little more than a year before . Paris offered him greater freedom and new commissions from its many opera companies . The Théâtre-Italien welcomed Lucia di Lammermoor into its repertoire in December 1837, and multiple contracts awaited Donizetti when he arrived the following year . After La Fille du Régiment premiered at the Opéra-Comique on February 14, 1840, composer and critic Hector Berlioz wrote a scathing—and partially libelous—review, complaining that Donizetti had two commissions with the Opéra, two with the Théâtre de la Renaissance, two with the Opéra-Comique, and another with the Théâtre-Italien . Berlioz raged that “One can no longer speak of the opera houses of Paris, but only of the opera houses of M . Donizetti ”.