Daughter of the Regiment tells the story of a younger girl raised by the Twenty-first French Regiment. When she falls in love with an outsider, new surprises reveal themselves. Study extra concerning the historical past, music, and important reception of Donizetti’s opéra-comique.
The Opera in Context
Tonio and Marie are in love. His colleagues approve; her aunt doesn’t. By no means worry! All obstacles shall be resolved within the sweethearts’ favor with a lot marvelous music alongside the best way. What extra may one ask of opera? Some may recommend excessive drama and tragedy. Nonetheless, Gaetano Donizetti (1797–1848) had already finished loads of that, most famously with Lucia di Lammermoor (1835). Now, in 1840, the Italian-born composer was based mostly in Paris. Taking a cue from French viewers tastes, and maybe additionally from his personal inclinations, he seized a chance for operatic good cheer. Welcome La fille du Regiment (Daughter of the Regiment)!
The work premiered February 11, 1840, on the Paris Opéra-Comique. Certainly, Daughter is kind of comical. Nonetheless, in Paris on the time, the style referred to as “opéra-comique” was particularly a stage drama that mixes vocal musical alternatives having orchestral help with spoken dialog. Earlier than lengthy, Parisians can be calling such works “operettas,” although that might be in relation to Jacques Offenbach (1819 – 1880). In Donizetti’s time, they had been nonetheless “opéras-comique.” If there’s spoken dialog, does it nonetheless go well with an opera home? Whyever not? Even Mozart composed just a few stage works having spoken dialog. Offered the music is first charge, spoken phrases ought not be a handicap to acceptance.
What’s Bel Canto Anyway?
Donizetti’s creation is certainly first charge: an admirable instance of bel canto model. Actually, that’s “lovely singing,” although certainly all operas have that. Bel canto goes one step additional: not simply lovely, but in addition at instances elaborately flamboyant with an amazing many notes—even fairly excessive ones—to extend the impact. Donizetti supplied effervescent examples of the model for each lovers, typically together with refrain commentary for emphasis. If the gents of the refrain are actively cheering what the soloist has to say, the viewers could also be hard-pressed to carry again!
Set Sail for the Excessive C’s
Each Tonio and Marie have spacious bel canto spotlights demanding artistry in addition to stamina. Tender, reflective passages alternate with good vocal fireworks: more and more extra of the latter because the scene continues. Main man Tonio’s act one aria “Ah! mes amis, quel jour de fête!… Pour mon âme” (Ah, my associates! Such a festive day! … For my soul) is likely one of the most notoriously difficult arias within the tenor universe. Its buoyantly flowing phrases are punctuated by 9 (sure, 9!) excessive C’s, the whole aria closing on one closing excessive C held for so long as the tenor can handle. Uproarious applause usually follows!
As for Marie, her act two aria begins together with her lamenting a future that appears confined to acceptable female habits, fairly than the joy she has loved with the regiment. Distinguished cello traces underscore her sighs. Ah, however then drums and brass announce the strategy of the Regiment—her beloved foster fathers! The second half of the scene, “Oh! transport! oh! douce ivresse … Salute a France” (Oh, bliss! Oh, candy ecstasy!… Glory to France!), inhabits a brand new and brilliantly lit world. A rush of shimmering trills and roulades specific her pleasure, main in the end to a protracted excessive trill even greater in impact than Tonio’s.
Berlioz Has a Bone to Decide
Daughter was well-received in Paris, no less than by the viewers, although probably the most influential of all Parisian music critics had a distinct opinion. That gentleman was Hector Berlioz (1803 – 1869). Not merely a journalist, Berlioz was additionally a revered composer who was probably envious of Donizetti’s triumphs in Paris. When an Italian composer’s operas are reaching the general public and a Frenchman’s should not, one can suppose that Berlioz’s evaluate might need been tinged with jealousy.
Phrases and Music Come Collectively
Within the textual content, librettists Jules-Henri Vernow de Saint-Georges and Jean François Bayard neatly differentiate the characters’ personalities. Donizetti’s music gives further ranges each of subtlety and power, giving singers and administrators a lot to work with because the characters and the story come to life.
Daughter isn’t just music layered over a narrative, or a narrative loosely associated to music. It’s a deft mix of music and storytelling. The presence of a contented ending doesn’t diminish the craftsmanship one bit. Tragedy could strike the soul, however Donizetti’s charming romance is a breath of recent air.
—
Program notes by Betsy Schwarm, creator of the Classical Music Insights sequence.
