Name: La Fille du régiment
Start: 2021-03-13T00:00:00.000Z
End: 2021-10-23T00:00:00.000Z
Location: Slovene National Theatre

Organization

Singer

Soprano

Petya Ivanova

Marie

Tenor

Martin Sušnik

Tonio

Bass

Jaki Jurgec

Sergeant Sulpice

Mezzo-soprano

Irena Petkova

The Marquise of Berkenfield

Dušan Topolovec

Hortensius

Dada Kladenik

The Duchess of Crakentorp

Sebastijan Čelofiga

A corporal

Spoken

Hideyuki Suzuki

A notary

Stage director

Krešimir Dolenčić

Conductor

Simon Robinson

Lighting designer

Vesna Kolarec

Costume designer

Alan Hranitelj

Set designer

Matic Kašnik

Chorus master

Zsuzsa Budavari-Novak

Opera and Ballet of Slovene National Theatre Maribor

Orchestra

Maribor Slovenian State Opera Orchestra

френски

словенски

La Fille du régiment -  (The Daughter of the Regiment)

Maribor

Slovenia

Slovene National Theatre

Grand Hall. Dvorana Ondine Otta Klasinc

La Fille du régiment Donizetti

Public

The Daughter of the Regiment

Approved

Gaetano Donizetti (1797-1848) went down in the history of music - and especially opera art - as an extremely prolific creator, since during his not very long life he created more than seventy independent opera works, if we exclude those titles that were revised – some even twice. The numerous anecdotes circulating about his proverbial ease of composing - for which he was repeatedly compared to the classical genius Mozart - testify to the fact that Donizetti wrote with both hands in a great hurry, creating as many as two or even more operas at once. As a classically trained composer (he completed his composition studies at the Bologna Lyceum of Music - Liceo musicale) and an extremely refined connoisseur of the human voice, immediately after completing his studies he looked for an opportunity to establish himself with his musical theater works,

Nevertheless, Donizetti's path to world (European) fame was still long, as he actually experienced it only in 1830 in Milan's Carcano theater with the opera Anna Bolena, in which he portrayed the tragic fate of Anne Boleyn, the second of the six wives of the English King Henry VIII. The opera was a great success mainly thanks to the outstanding Italian soprano Giuditta Pasta, who brilliantly portrayed the title role, and the renowned tenor Giovanni Battista Rubini (in the role of Percy). As can be seen from the composer's oeuvre, Donizetti's creative persona was in some way divided between the tragic and the comic from the very beginning, which is especially evident in the constant fluctuation between creating in two characteristically bipolar opera genres - operi seri and operi buffi. After moving to Paris in the late 1930s.

It is in Daughter of the Regiment that Donizetti sometimes openly, at other times subtly plays with operatic and social conventions, which arise in comic clashes between members of different social classes (such as between the vivandière (French term for the stewardess of the military units) Marie and the young Tyrolean Toni, who he falls in love with her) and then with a skillful composer's hand directs them to achieve convincing stage effects that provoke laughter in the viewer and listener at the same time astonishment at the virtuoso vocal acrobatics (of which Toni's aria Ah, mes amis, quel jour de fête is certainly the most famous , in which as many as nine high Cs are strung together). Despite the happy (one might even say clichéd) unfolding of seemingly insurmountable (housing, social) differences between the two lovers, which has been seen several times,

English

Gaetano Donizetti (1797–1848) se je v zgodovino glasbe – in predvsem operne umetnosti – zapisal kot izjemno plodovit ustvarjalec, saj je za časa svojega ne prav dolgega življenja ustvaril več kot sedemdeset samostojnih opernih del, če odmislimo tiste naslove, ki so bili revidirani – nekateri celo dvakrat. Številne anekdote, ki krožijo v zvezi z njegovim pregovorno lahkotnim komponiranjem – s čimer so ga večkrat primerjali s klasicističnim genijem Mozartom –, pričajo o tem, da je Donizetti v hudi naglici pisal z obema rokama in ustvarjal kar po dve ali celo več oper naenkrat. Kot klasično izšolan komponist (študij kompozicije je zaključil na bolonjskem Glasbenem liceju – Liceo musicale) in izjemno pretanjen poznavalec človeškega glasu je nemudoma po zaključku študija iskal priložnost, da bi se uveljavil s svojimi glasbenogledališkimi deli, a je po več mlačnih odzivih del v Benetkah, kot so Una follia, Il falegname di Livonia, Le nozze in villa, svoj prvi uspeh doživel leta 1822 v današnji italijanski prestolnici Rimu s svojo opero serio Zoraida di Granata, ki je skladatelju dal nov zagon pri ustvarjanju oper za različna italijanska gledališča, predvsem na jugu (Neapelj, Palermo), deloma pa tudi v Rimu in Milanu.

Kljub temu je bila Donizettijeva pot do svetovne (evropske) slave še dolga, saj jo je v resnici doživel šele leta 1830 v milanskem gledališču Carcano z opero Anna Bolena, v kateri je upodobil tragično življenjsko usodo Anne Boleyn, drugo izmed šestih žena angleškega kralja Henrika VIII. Opera je doživela velik uspeh predvsem po zaslugi izjemne italijanske sopranistke Giuditte Pasta, ki je briljantno upodobila naslovno vlogo, in priznanega tenorista Giovannija Battiste Rubinija (v vlogi Percyja). Kot je razvidno iz skladateljevega opusa, je bila Donizettijeva ustvarjalna persona na neki način že od samega začetka razklana med tragičnim in komičnim, kar se kaže predvsem v konstantnem nihanju med ustvarjanjem v dveh značajsko bipolarnih opernih zvrsteh – operi serii in operi buffi. Po preselitvi v Pariz v poznih 30. letih 19. stoletja pa se je Donizetti postopoma privadil na lahkotnejši “modus vivendi” živahne francoske prestolnice, v kateri je prvi velik uspeh doživel februarja 1840 prav s komično opero Hči polka (La fille du régiment), v kateri je združil francoski humor z italijanskim belcantom in ju dvignil na novo, še nesluteno raven.

Prav v Hčeri polka se Donizetti včasih odkrito, drugič spet subtilno poigrava z opernimi in družbenimi konvencijami, ki nastajajo v komičnih trkih med pripadniki različnih družbenih stanov (kot denimo med vivandière (francoski izraz za oskrbnico vojaških enot) Marie in mladim Tirolcem Toniem, ki se vanjo zaljubi) in jih nato z veščo skladateljsko roko usmerja v doseganje prepričljivih odrskih učinkov, ki v gledalcu in poslušalcu izzovejo smeh in obenem osuplost nad virtuoznimi vokalnimi akrobacijami (od teh je prav gotovo najbolj znana Tonieva arija Ah, mes amis, quel jour de fête, v kateri je nanizanih kar devet visokih C-jev). Kljub že večkrat videnemu srečnemu (lahko bi celo rekli šablonskemu) razpletu na videz nepremostljivih (stanovskih, družbenih) razlik med zaljubljencema, ki jih je Donizetti zakodiral v lastno preverjeno glasbenodramaturško formulo, pa nas skladatelj v kontekstu svojega gibkega in “koketirajočega” glasbenega toka, v katerem ne manjka pomenljivih dramskih in glasbenih interakcij med solisti, zborom in orkestrom, vedno znova prepriča z liričnostjo pevske melodije in nasploh z refleksivnimi trenutki, ki pa zgolj odrejajo humorju in komičnemu nasploh tisto relevantno mesto, ki mu v okviru te vélike in nadvse posrečene ljubezenske peripetije upravičeno pripada.

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