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<b>by Gaetano Donizetti, directed by Michael Patrick Albano
Opera Ontario, Hamilton Place
March 29, April 3 & 5, 2003
Centre in the Square, Kitchener
April 11, 2003
</b>
"Three Cheers for 'La Fille'"
There are three major reasons to travel to Hamilton or Kitchener to see Opera Ontario's production of "La Fille du régiment". First, the opera has not been produced in Ontario since 1977. Second, it is a delightful work sure to lift anyone's mood. And last, but not least, it is given high-spirited production featuring Tracy Dahl, who is absolutely perfect in the title role.
The plot of "La Fille du régiment" (1840) is reminiscent of operetta. Marie, as an orphan was adopted by the entire 21st regiment of French soldiers, who collectively are her father. She wants to marry Tonio, who the regiment thinks is a spy. Meanwhile the Marquise of Berkenfeld claims Marie as her niece and wants to refine her ways so she can marry an aristocrat. In the Opéra Comique style spoken dialogue is used instead of recitative. For this production the arias are sung in the original French and the dialogue spoken in English.
To this fluffy plot, Donizetti has written a string of memorable numbers and demanding showpieces for the lead soprano and tenor. Tracy Dahl meets Donizetti's vocal demands with stunning ease, tossing off high notes and runs as if nothing were simpler. Yet, in Marie's two slower arias of reflection, she completed changes the mood to bring an unexpected depth to her character. The sprightly Dahl is also a natural comic actress and her recital scene of Act 2 is truly hilarious. Her joy in performing Marie is infectious.
The Tonio, American tenor Bruce Sledge, is a real find. He polishes off the famous nine high C's of "Ah mes amis" with power to spare. He is not quite as at home on stage as Dahl, but the strength of his voice, his control and ringing tone make one hope Opera Ontario can engage him again in future.
American bass-baritone Peter Strummer brings out all the warmth and strength of Sergeant Sulpice, Marie's chief "father". Mezzo-soprano Odette Beaupré is intent on making the Marquise of Berkenfeld into a character not a caricature. At the end she, like, find depth in the role to make this comic opera touching as well as funny. Baritone Peter Barnes as the Marquise's steward is a suitable foil but remains a caricature. Allison Grant turns the speaking role of the Duchess of Krakenthorp into the opera's equivalent of Wilde's Lady Bracknell.
Stage director Michael Patrick Albano has a fine sense of how the opera should work. He doesn't push the action into farce or clutter it with unnecessary business. Rather he portrays it as a comedy of character thus demanding and receiving from the talented cast more nuanced performances than is usually the case in opera buffa. The scenery from the Opera Company of Philadelphia, particularly for Act 1, looks as if it has seen better days, but that hardly mattered given the high quality of the sing and acting. Lighting designer Renée Brode gives the work a suitable glow of nostalgia. Conductor Daniel Lipton drew a lovely account of the score from the Hamilton Philharmonic.
When seen in a production as fine as this, it's hard to believe this delightful work should remain unperformed in Ontario for so long. We owe a debt of thanks to Opera Ontario for bringing it to light again. If the poisonous atmosphere of the real world has you down, look no further than this operatic bonbon for the antidote.
Christopher Hoile
Note: This review is a <i>Stage Door</i> exclusive.
Photo: Peter Strummer, Tracy Dahl and Bruce Sledge. ©2003 John Rennison.
<b>2003-03-30</b>
<b>La Fille du régiment</b>