Organization

Conductor

Conductor (+3)

Riccardo Frizza

Stage director

Stage director (+4)

Emilio Sagi

Set designer

Set designer (+2)

Julio Galán

Costume designer

Lighting designer

Lighting designer (+1)

Daniele Naldi

Soprano (+2)

Patrizia Ciofi

Marie

Tenor (+7)

Juan Diego Flórez

Tonio

Bass (+4)

Nicola Ulivieri

Sergeant Sulpice

Chorus

Chorus of the Teatro Carlo Felice di Genova

Orchestra

Orchestra of the Opera Carlo Felice Genova

Teatro Carlo Felice

After Rossini's retirement, Bellini's early death, and Verdi still struggling with his years in prison, Italian melodrama, for foreign countries, identified itself with a single name: Gaetano Donizetti. Was it also due to this momentary void that Donizetti had, as is well known, to satisfy all needs, working like a madman on comic and serious works, most of the time at the same time? It's possible; in any case, the fact is that in Paris, between 1840 and 1843, Donizetti represented three masterpieces, very different from each other: La favorita, Don Pasquale and La fille du régiment (formerly Parisian, at the Opéra- Comique, 11 February 1840, Italian premiere, Milan, Teatro alla Scala, 3 October of the same year). The libretto, co-written by JH Bernoy de Saint-Georges and JF Byard, was quite conventional. Basically, the usual story of a thwarted love. Maria, a vivandier of the army, was actually adopted by the eleventh Swiss regiment, stationed in a small village, and has sergeant Sulpizio as her putative father. Tonio, a young Tyrolean with whom Maria is in love, enlisted in the regiment. But the Marquise Berkenfield recognizes her as a granddaughter in Mary and takes her with him to her castle to educate her according to the rank of her real family and above all to encourage her to a suitable marriage with the Duke of Krakerntorp. It will soon be discovered that the marquise is Maria's mother. And, as her mother, in the end the marquise can only indulge the true feelings of her daughter, allowing her to marry her beloved Tonio. Proven plot, therefore, but always relevant in representing the incompatibility between the real feelings of the characters and the feelings imposed by social duties (the theme will be fundamental in Verdi, in which it will take on much more dramatic aspects). Donizetti, who could not help expressing the contrasts of his soul even in the most lively events (just think of the pathetic "Una furtiva lagrima" inserted in the middle of the comic Elisir), creates with La fille a captivating score full of situations diversified music. The military tone never covers the song, the true center of Donizetti's writing, a song so chiseled as to make a refined musician like Mendelssohn regret not having composed La fille du régiment, which has gone down in history as the best French opera not written by a French.

投擲

Marie

Tonio

Sulpice

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