Aveline Kirana
Gaetano Donizetti’s effervescent La Fille du Régiment, a cornerstone of the opéra comique repertoire, has once again captivated audiences at the Royal Opera House in its fifth revival. This production, helmed by Laurent Pelly, stands as a testament to the opera’s enduring appeal, a stark contrast to its tumultuous premiere in 1840. The work’s initial reception was far from auspicious; opening night in Paris was marred by vocal inaccuracies from the lead tenor, and its subsequent Italian debut was met with outright dismissal, being critically labelled "worthless" and shuttered after a mere six performances. Yet, through a remarkable artistic alchemy, La Fille du Régiment not only survived its inauspicious beginnings but blossomed into a beloved and frequently performed masterpiece, a trajectory that this current revival powerfully illustrates.
A Legacy of High C’s and Comedic Brilliance
The opera’s eventual ascent to stardom owes a significant debt to its celebrated set pieces, none more so than the nine stratospheric high Cs in Tonio’s iconic aria, "Ah! mes amis, quel jour de fête." This particular revival, under the direction of Dan Dooner, leans heavily into the opera’s farcical underpinnings, often blurring the lines between witty opéra comique and outright pantomime. The staging embraces a degree of audience engagement, with protagonists frequently delivering asides and witty commentary that elicit knowing chuckles. The production even incorporates contemporary humor, featuring topical jokes referencing the World Cup, a bold move that underscores the creative team’s commitment to making the historical work feel vibrantly present.
The narrative, a delightful confection of mistaken identity and romantic entanglement, centers on Marie, an orphan discovered on the battlefield and lovingly adopted by a boisterous French infantry regiment. Her life of military camaraderie is upended when her aristocratic mother, the Marquise de Berkenfield, resurfaces to reclaim her daughter and orchestrate a politically advantageous marriage to a Duke. However, Marie’s heart belongs to Tonio, a spirited Tyrolean peasant, setting the stage for a charming conflict between duty and desire.
Chantal Thomas’s scenography provides a visually engaging backdrop for this unfolding drama. The first act unfolds against a striking panorama of loaded wagons traversing the Tyrolean mountains, revealing a rocky outcrop adorned with topographical maps. The second act shifts to a delightfully skewed rendition of Berkenfield Castle, characterized by its decidedly off-kilter architecture and a distinctly sloping floor, adding a subtle layer of visual humor that complements the operatic antics.
Juan Diego Flórez: A Decade-Long Reign of Vocal Mastery
The revival’s success is inextricably linked to the commanding presence of Peruvian tenor Juan Diego Flórez, who reprises his acclaimed portrayal of Tonio. Flórez first captivated audiences with this role at the Royal Opera House in 2010, and his return 16 years later, after a hiatus from the role since 2014, was met with intense anticipation. Skepticism regarding any potential decline in vocal prowess, particularly given his celebrated mastery of the bel canto style, was understandable. However, the performance unequivocally demonstrated that Flórez’s formidable talent remains undimmed. While a keen ear might detect a minuscule diminution in the exquisite tonal beauty during his earliest interactions in the first act, this was a fleeting impression. By the time Tonio dons his military uniform and integrates into the regiment, Flórez is singing with unrestrained power and seemingly boundless energy, as if discovering an additional gear in his vocal arsenal.
The apex of his performance, and indeed a highlight of the evening, was the rendition of "Ah! mes amis, quel jour de fête." Flórez dispatched the nine legendary high Cs with such apparent effortlessness that, for a moment, one might question if they had been subtly transposed. The sheer brilliance, intensity, and impeccable breath control demonstrated on the final C, delivered on the word "Militare," were nothing short of astounding. This feat elicited what is arguably one of the most prolonged and enthusiastic ovations ever witnessed at the Royal Opera House, a testament to the sheer vocal artistry on display. It is noteworthy, however, that in the final act’s aria, "Pour me rapprocher de Marie," Flórez chose not to execute the C-sharp, a note he typically soars to, opting instead to hold a sustained note on "fallait" in "S’il me fallait." This deviation, rather than diminishing the impact, arguably enhanced the aria’s emotional resonance, and the subsequent rendition of "Tout en tremblant, je viens, madame" was imbued with a sublime sweetness and beauty that perfectly complemented the preceding dramatic tension.
Beyond his vocal accomplishments, Flórez exhibits a surprising physical agility and deftness. His portrayal is suffused with a disarming boyish charm, and his stage presence occasionally evokes a Chaplinesque quality. The final act, featuring Tonio’s triumphant arrival with his entire infantry aboard a tank to rescue his beloved, is a spectacle of pure theatrical joy. Flórez remains a remarkable and gifted artist, arguably without peer in this demanding role.
A Stellar Ensemble Cast
Complementing Flórez’s tour-de-force is Spanish soprano Sara Blanch, making her Royal Opera House debut as Marie. Blanch proves to be a revelation, exhibiting a natural aptitude for physical comedy and singing with remarkable agility, even when navigating bewildering stage positions – prone, aloft, or inclined. Her vocal performance is consistently secure throughout her range, characterized by a piercingly precise top register. Her emotive aria, "Il faut partir," depicting Marie’s poignant farewell to her military family and her former life, created a particularly heart-rending moment, its impact amplified by the stark contrast to the preceding whirlwind of whimsical, fast-paced comedy. In the final act, her "Salut à la France!" aria showcased her formidable coloratura skills through a series of rapid trills and runs. Blanch’s performance was marked by astonishing energy; she moved with an unceasing dynamism, leaping, bounding, and occasionally throwing herself melodramatically across the set, earning her well-deserved thunderous applause at the curtain call.
Italian baritone and bass Paolo Bordogna delivers a memorable performance as Sergeant Sulpice Pingot, Marie’s surrogate father and protector. Bordogna’s portrayal is vocally rich, resonant, and warm, embodying the role of the buffoonish sergeant with perfect comedic timing. His portrayal of a deep and endearing paternal attachment to his adopted daughter is thoroughly convincing, creating a palpable and touching bond between the two characters.
Sonia Ganassi, as the Marquise de Berkenfield, infuses her character with palpable haughtiness. Her demeanor is consistently comedic and prim, yet she manages to convey a touching conciliatory bearing in the final act when she acquiesces to her daughter’s desire to marry Tonio.
The speaking role of La Duchesse de Crakentorp, a role traditionally cast with well-known celebrities, is in this production essayed by the renowned British actress Tamsin Greig. Her performance is destined to be remembered as one of the most striking interpretations of the Duchess. Greig masterfully embodies a splendid brand of superciliousness, dismissing those around her with utmost condescension. Her delivery, a perfectly balanced blend of impeccable French and hilariously offensive English, is rendered in a delightfully bombastic manner, nearly stealing the show.
The opera chorus, a formidable ensemble, not only delivers majestic vocal performances – a hallmark of their artistry – but also demonstrates exceptional physical prowess. Under the expert guidance of choreographer Laura Scozzi and revival choreographer Karine Girard, they inhabit their roles as comical French soldiers with demanding physicality, contributing significantly to the production’s overall energy and comedic impact.
Orchestral Prowess and Conductorial Vision
Conductor Yves Abel commands both the orchestra and the singers with splendid authority. His guidance of the musical forces is superb, and he exhibits a commendable focus on and concern for the on-stage artists, a quality that greatly enhances the overall performance. The opera’s long, rousing prelude, an impactful and joyous overture, earned rapturous applause before the curtain even ascended, setting a high bar for the evening.
The Enduring Appeal of Opéra Comique
La Fille du Régiment stands as an exemplary introduction to the world of opera for newcomers, showcasing how beautiful music can indeed inhabit seemingly lighthearted themes. Maestro Donizetti’s undeniable penchant for blending sublime musicality with accessible, often humorous narratives is on full display in this production. The Royal Opera House’s revival not only honors the composer’s intentions but elevates them through inspired staging and exceptional performances, proving that even an opera with a historically troubled past can achieve enduring and resounding success. This production serves as a vibrant reminder of the genre’s capacity to entertain, to move, and to inspire, cementing its place in the operatic canon for generations to come.
