By McKenzie Synal
At Salt Lake City’s Capitol Theatre, La Fille du Regiment or The Daughter of the Regiment has finally premiered in Utah. This first performance may be surprising, given that Utah Opera has been producing first class operas for over 40 years and this opera was first performed in 1840 in Paris. Written by Gaetano Donizetti, it is set to a riveting French libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard. The Daughter of the Regiment is a family-friendly comedic opera with English dialogue and English subtitles for the French songs. It is wonderful for first time opera goers and will keep you entertained for every minute.
The Capitol Theatre is always a joy to attend with its stunning lobby, dazzling chandeliers, and ornate gold trim. Michael Shell directs this opera and its many moving elements are flawlessly combined to form an opera worthy of a standing ovation at the completion of each song. The lighting by Driscoll Otto follows the tones and themes of the music. It even provides its own comedic element as it highlights the dialogue and dramatically changes during the recurring storytelling from the leads. Traveling through all the shades of the rainbow, we are taken on a journey through all the emotions; as our eyes feast on passionate reds, vibrant blues, majestic purples and soft blushing pinks that are reminiscent of the first love we are watching unfold on the stage.
Conductor Stephanie Rhodes Russell is a joy to watch in the overture and I kept stealing glances her way during the opera. Russell conducts with a vigor and embodies the feelings through her movements. She kept the pace up with tempos to challenge the singers with fast patter and the glorious music is a feast for your ears. Donizetti’s music is melodically beautiful, and allows the orchestra time to shine.
The curtain comes up on a unique background set piece that remains on stage for the duration. Designed by James Schuette, it is a forest scene with layers of mountains and trees that have luminescent highlights, which are shown during the stunning evening-toned light work. Even the daylight is lit with dappled shadows and various shades of orange, yellow and white that evoke a perfect summer’s day. The best parts about the set are the many doors hidden in it and the detailed work on the backside of the doors that create a seamless entry and exit during each scene.
The costumes by Linda Pisano are exquisite in their detailed work, the Utah Opera’s expert in-house costume artisans created over forty new outfits specifically for this opera and their craftsmanship is immaculate. The layers in each person’s outfit kept us discovering new intricacies with each costume change. The peasants are clad in multilayered skirts, complete with kerchiefs, aprons, hats, scarves, patterned stockings, and so on. Dressing the 30-plus cast members must be a challenge, and yet it is showcased effortlessly in both acts with leads and ensembles dressed to the nines. The party scene and finale were an impressive visual display of a variety of dresses and headpieces, fans and feathers, and of course sequins and sparkles.
The English dialogue definitely makes this more accessible and allows us to be fully present with the artists on stage. This opera was forward-thinking and was written using the vernacular from the time. It has been modernized to include our vocabulary, which adds additional laughs as Marie (Madison Leonard) sassily exclaims, “Am I not allowed to pick my nose? Or how about my friend’s nose?” Or when Sulpice (Matthew Burns) asks Marie if she is pouting and then leaves with the ringer, “A-pout face, wah wah wah” as he marches off stage. Sulpice has another fantastic bellow when finding out Marie wants to be married. In the most militant and loving father voice he exasperatedly repeats, “But she doesn’t have the proper authority.”
The regimental song has a rousing chorus with rhythmic stomping and clapping. The joy of the members performing is infectious. All of the actor-singers use both their voices and their bodies for excellent humorous effect. Specifically, Sergeant Sulpice and the Marquise of Berkenfield, sung by Elise Quagliata, fill the show with laugh out loud antics, and curate complete character portrayals, giving us nuance and emotions in every lyric.
Sulpice spends his time keeping Tonio (Jack Swanson) and Marie apart; many of the songs and dialogue have Sulpice swapping spots with Tonio or interrupting the kissing couple. As the trio sings, “Tous les trois réunis”/“We three are reunited.” I am awed by how quick each lyric is and I don’t even need the captions to follow the tone of the song. Sulpice and Marie are a delight in “Mais, qui vient? Tiens, Marie, notre fille” / “But who is this? Well, well, if it isn’t our daughter Marie.” It is full of true father-daughter energy and will keep you laughing with a piggy-back ride and pillow fights. Every line, interaction, and full-out showpiece is an absolute delight from start to finish with these two characters.
Marie and Tonio could sing in any language and I would still be captivated. Their chemistry is remarkable and Marie is a technically-perfect soprano with her smooth transitions and marvelous vocal range. Her clear voice resonates perfectly, filling the gigantic hall with ease. She negotiates florid coloratura, traveling up and down as easily as lifting a feather. She leads many harmonic shifts and the orchestra follows them as they echo the modulations made by the artist on stage. Combined, Tonio and Marie’s duets are flirtatious, fun, and full of heartfelt lyrics proclaiming their feelings of love. Tenor Tonio brings down the house with his phenomenal aria “Ah! mes amis, quel jour de fête”/“Ah! my friends, what an exciting day.” Each note is fully supported and filled with emotion and his awe-inspiring nine high Cs left the audience begging for more, a wish which was promptly fulfilled in the second act. This is Swanson’s Utah debut and I hope to see him grace our stages again very soon!
A fellow audience member and season pass-holder for over 12 years proclaimed that this was now one of their favorite operas of all time. I challenge you to expand your horizons and watch an 1800s version of a romantic comedy. The quick-witted dialogue and the soaring melodies will keep you on the edge of your seat as you laugh, cry and are immersed in The Daughter of the Regiment.
This production runs for approximately 2 hours and 30 minutes, with one intermission. It is suitable for audience members of all ages. Utah Opera recommends ages five and up with an ability to be seated for the duration of the performance. In fact, I witnessed many families enjoying this with their children.
I’ll leave you with the parting words, “To France, To Happiness, To Hope, To Love.”
Utah Opera Presents The Daughter of the Regiment; By Gaetano Donizetti, from a libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard.
Janet Quinney Lawson Capitol Theatre, 50 West 200 South, Salt Lake City, UT 84101.
Jan 14-22, 2023. See website for individual performance times.
Tickets: $20-110
www.usuo.org
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