This weekend, Arizona Opera presented Gaetano Donizetti’s “Daughter of the Regiment,” a comic opera that plays on 19th-century humor sprinkled with contemporary jests. Donizetti, a Bel Canto composer, premiered the opera in 1840 to near failure. Its fame derives from a later performance and subsequent revivals of the Bel Canto repertoire.
The first act opens on villagers in fear for their lives as enemy soldiers approach. It is set in a picturesque mountain village — simple but beautiful. The peasant chorus sings of their despair, and prays to the Virgin Mary that the soldiers will leave and never return.
We then see a pair of nobles stumble upon the scene. The Marquise of Birkenfield is utterly beside herself and fears for her honor in the face of the dubious enemy soldiers. A sergeant of the enemy group assures the town that no harm will come to them, and his regiment will rest in the village. He and the canteen girl, Marie, begin to set up camp.
Marie, played by Susannah Biller, is an orphan abandoned in wartime who has been adopted by the 21st regiment of the French army. Marie is raised by Sergeant Sulpice, a true soldier, undefeated in war and romance. Together, they prepare the village for the regiment to rest.
Marie and Sulpice sing of the joys of being a soldier and their undying loyalty to the Emperor and the regiment in a comedic military ditty. They discuss Marie’s future, and she admits to have feelings for a local man.
While exploring the country, Marie had quite literally fallen into the arms of a villager — her enemy — Tonio, played by tenor David Portillo.
Tonio risks the wrath of the French soldiers to see his beloved until he realizes that he has to gain the permission of her father (or fathers, as the case may be) for her hand. Having been raised by the regiment, Marie considers all the men her “father.”
She has promised her fathers to only wed within the regiment, to repay them for their kindness toward her. Tonio bravely returns to the company as a soldier who joined solely for the purpose of marrying Marie.
While her fathers consent to the union, a new player, the Marquise, also has a claim to Marie. The Marquise claims to be her wealthy aunt who is prepared to bestow a title on her new heiress. Marie reluctantly goes with the Marquise to become a proper lady.
Act II reveals the extent of work Marie must undergo to rid her of “bad habits” she acquired as a soldier. Hilarity ensues as the former canteen girl is obliged to become a ballerina. Much like Marie herself, the set remains the same in essence, but with gilded finery imposed upon it. The majesty of the natural landscape is covered up by the the superficial world of the Marquise.
Marie longs for her regiment, and most of all for Tonio. The Marquise has already arranged a suitable match but is doubtful of Marie’s approval. She enlists Sulpice to convince Marie to agree to the marriage, though it would forever part her from Tonio. Tonio pleas to the Marquise for Marie’s hand but is ultimately denied, as he is but an officer in an enemy regiment. Her suitor is a Duke, and is far more worthy of Marie.
However, as the story unfolds in an unlikely turn of events, the two are reunited and wed with the consent of the nobles, regiment, Sulpice, the Marquise and the Dutchess of Krakenthorpe (played by the incomparable Didi Conn, easter-egg pink hair and all).
As conductor Keitaro Harada says, anything could happen as the performance goes on; it is a collaboration. The company worked together to bring this 19th-century comedy into today’s world, breathing life into these characters.
In the words of Susannah Biller, one can rehearse and train endlessly, but, “the best learning is on stage.” Didi Conn, the famous “Frenchy” in Grease, made her operatic debut in this production and made a point to note that earning the right to go on stage is imperative in all theatre, but confidence and trust is what makes an opera.
Arizona Opera’s next season will see the Arizona Bold artistic initiative, which looks to make opera relevant and accessible to Arizonans. This initiative brings native Arizonans onto the stage performing repertoire that reflects the cultural heritage of the region.
“Daughter of the Regiment” ran April 10-11 at the Phoenix Symphony Hall. It will show in Tucson April 18 at 7:30 p.m. and April 19 at 2 p.m.
Contact the author at Samemccrory@gmail.com.
Contact the columnist at mbilker@asu.edu.
