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(Photo: Royal Opera House / Tristram Kenton)
A map unveils to become gigantic on the stage in the production of Laurent Pelly in 2007, The Daughter of the Regiment: a wacky and caricatural exhibition of this wacky comic story that stifles our talent for suspending disbelief. Pelly reveals the bright comic jewels of opera, sometimes straddling the line between kindness and pantomime.
The designs of scenery resist above all the drifting in the straits of the superfluous; The color scheme of the contrasting missing walls in a royal purple décor with the rich mahogany sloping furniture in the Marquise's castle is both aesthetically appealing and absurd. The image of the now infamous production of the heroine Marie, the regimental canteen, ironing an endless clothesline of the oversized undergarment of the troops, is only One of the aspects of the show that sting an innocent fun in front of the plot and the incredibility of the characters. . Mary's allegedly militant garment – the set of white waistcoat, blue pants and suspenders – evokes her attempts to pretend to be "one of them" while emphasizing her boyhood missed by accompanying him with his vagabonds and his galibans.
Even if some comic moments are too close to the border between good taste and the quick and easy means to provoke laughter – like Marie repeatedly coming out of the artificial jack-in-the-box of her regiment for to please the applause of the spectators – their style is saved by the urge of this casting to respect the good comic timing and ignite the play with a flamboyant spirit.
Daughter of the regiment
Sabine Devieilhe's Marie is mobilized with well-proportioned manifestations of courage, gathering, camaraderie and irreverence towards her blood family; her dull and inaudible form as she reluctantly deals with her tasks is an immense display of immaturity and the imprudent and heavy ambition of youth. Devieilhe's Silver Coloratura Soprano is an agile, swiveling instrument that is easy to cast to shape the diminuendi and the flexible, icy spirit of the protagonist.
Some color ranges nevertheless slide down without complete fluidity, omitting certain notes and difficult races on arrival. Devieilhe, with an upper register sometimes narrow, would do well to further support the upper part with extra vibrato and diaphragmatic support, and not to let the breath cut words such as "my friends" in the famous aria "It takes from "overly affected and melodramatic." Most of the time, the soprano's legato remains intact despite difficult vocal pbadages – but in that tune, a harder note approaches the crack at the top of its range. a humorous heroine unleashes bursts of laughter, Devieilhe fights in the midst of this disheveled production to engage in the vulnerable withdrawal of his character, thus diminishing its veracity in the rare tender moments of the opera.
Malicious rapscallion
A daring and turbulent match for Devieilhe's captivating antics, Javier Camarena's Tonio is just as rapacious as his beloved. The excitement prompted him to run randomly in some faster sections and his start of "Ah, my friends what a holiday" shuddered slightly with nervousness. Having prepared the air with a clear confidence and aplomb, Camarena nevertheless supports the cavernous strength of his tenor extremely well supported throughout the difficult rise of the room, exploiting a whole range of alternations between thick vibrato and thin and diminuendi brutal and progressive in this steep climb. laborious air. Widely painted with the ardent ardor of emerging love, her audacious proclamation of a soldier and husband-to-be – "Here I am, soldier and husband" – is clearly collapsed in the face of his daring affection for the "daughter" of the regiment .
Each expulsion from Camarena's high and very clean voice, "C", appears gallant and emotional, chaining his listeners in creepy shackles. The exaltation of the roar of the crowd in this case triggered a reminder, pushing the tenor to break the character by mistake and shrug before starting again: an action that broke the spell a bit. Nevertheless, the tension of his fervent realization of the character led relentlessly throughout the second act – even if some notes like "trembling" and "live" in "While trembling, madam, madam" ("I'm coming, madam , all are shaking ") suffer a little instability. Although there is no mention of Camarena's vocal preparation and enviable taste in his roles, resisting the temptation to get carried away in a few moments would strengthen his feat.
Soldier & Marquise
Enkelejda Shkoza's Berkenfield Marquise makes good use of vibrato to lend her the pompous, capricious character that entitles her to her age. The peaks of her warm, coppery mezzo-soprano provide the Marquise with a sense of humor without a brush, maintaining the style of both her social status and stature. From time to time, the chromatic scales lose their regularity in a trio citing respect for beauty, morals and innocence ("beauty, morals, innocence") in its air " For a woman of my name. my name ")." Yet facets like joy in her trembling voice when she speaks, "A castle of the same name as me!" make her almost endearing.
The bombasticity rightly permeates the imprint of Pietro Spagnoli on Sergeant Sulpice, the main "father" of the four dozen fathers of Mary. The baritone, offering his cheeky notes with a constant panache, can glean expressions alternating between pugnacity, effusions of a proud father and insightful snobbery that explains his dismissal of Tonio: the love of Mary and an enemy soldier. When he received Act No. 2 of the Marchioness, admitting that she is indeed the mother of Mary, he indulges in a series of capricious shenanigans between the two characters.
Dealing with the score with a polish that highlights its eccentric and unprecedented agitations of jovial strings or belligerent brbad, Evelino Pidò frees from all the mischievous and violent trills on the violins and delicate and incremental strokes on the wave of tremolos. Although the texture of the brbad is only irregularly irregular, the entrances of the woods are always precise and often rhythmic.
Much of the text has been transposed into more modern French jargon in an adaptation of Agathe Mélinand. risk (This does not mean, as surtitles claim, "old bat" or "shit", "bloody hell"). This fantastic and almost parodic production of "The Girl of the Regiment" serves the satirical score of Donizetti with much need of grandeur.
It's a caliber of musical escape that an audience might mistakenly think is incompatible with comedy – and a delightful way to go wrong.
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