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Mes amis … Pour mon âme”—a feat which he encores by popular demand. The premiere of La Fille du régiment was delayed until 11 October 1840. Set against the backdrop of a French map, the direction flows organically with carriages and luggage populating the beginning and then giving way to a stage filled with white shirts and cots. New York, 18 February, 2019 Of all Donizetti’s comic operas, La Fille du Régiment is the only one where the star soprano, not the tenor or the buffo, makes the show or breaks it. As the Marquise de Berkenfield, Stephanie Blythe showed off her opulent voice, filling the Met house with the same imposing power audiences have come admire.

She even interpolated a High F at one point. You might also enjoy He threw off the nine high Cs of “Pour mon âme” with relish and ease, earning himself a two-minute ovation, the likes of which have not been particularly common at the Metropolitan Opera this season (it must be noticed that this was probably the most engaged Met audience we have experienced all season). He currently freelances for Remezcla. Camarena has such a firm grasp of his technique and how he places his voice that he has the confidence to take risks with the phrasing and the breath, which was especially apparent in the latter aria “Pour me rapprocher de Marie,” where he expanded the legato phrases endlessly. Then there are wedding guests, which are depicted as decrepit people of a dying social structure. Eleven years after Laurent Pelly’s production premiered at the Metropolitan Opera, this rendition of “La Fille du Régiment” remains fresh and exciting. Set against the backdrop of a French map, the direction flows organically with carriages and luggage populating the beginning and then giving way to a stage filled with white shirts and cots. But she also showed her agile pattering in Act one and exquisite trills during the lesson scene.

Her French dialogue was also quite impressive and she elicited laughter from the audience throughout the many spoken passages. These cookies do not store any personal information.Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. With Marco Armiliato, Renée Fleming, Donald Maxwell, Felicity Palmer. Sulpice, and award-winning actress Kathleen Turner in a featured cameo appearance as the Duchess of Krakenthorp. There was a growing desperation with each line that made the emotional crescendo build throughout the aria, climaxing in a heart-wrenching high D natural that the tenor held onto for quite a lengthy amount of time as he knelt. Review: A Tenor Reaches 18 High C’s at the Metropolitan Opera Pretty Yende and Javier Camarena as young lovers in Donizetti’s “La Fille du Régiment” at the Metropolitan Opera. High notes are thrilling and exciting to be sure, but if “The Exterminating Angel” proves anything, it’s that too many high notes can become akin to eating too much sugar – it stops being enjoyable after a while. Donizetti was all the rage in Paris with some seven operas in or awaiting production. This was Yende’s most compelling singing, each phrase gently handled to express her sense of loss.

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It seemed inevitable that he would encore the piece, but what was more riveting is that he did so without any noticeable fatigue from the initial effort. Tonio loves her, she loves him, but when her aunt recognizes her, it seems they will never be allowed to be together. In Marie’s second act aria, the principal cellist engaged with gorgeous portamenti that combined perfectly with Pretty Yende’s gleaming middle voice. In the middle section “et mes amis, ma compagne,” the voice brightened up as she sang the shorter staccati phrases with joy.

That house is given an exaggerated feel with servants slowly cleaning the house in utterly ridiculous gestures; the maid crawling along the floor like a rat draws intense laughter everytime. Audio Tracks Excerpts from the Metropolitan Opera broadcast of December 24, 2011 She not only danced, ironed, pranced and jumped, she gave high notes like not other. Marie, lost as a baby, was found and raised by the local regiment.

But his singing in “Pour me rapprocher” was so intense and powerful, that it was this aria that came out as the more impactful one.

Directed by Gary Halvorson. When it came time for the softer, lyrical and slower moments, Mazzola allowed the singers to take the time and extend the lines without ever seeming overindulgent.

As she ironed a sea of white shirts, one saw the excitement in her routine.

With one virtuosic vocal display after another, Donizetti’s charming romantic comedy has long served to showcase talented bel canto singers on the Met stage.

Enjoy a free 7-day trial! His nervous gait was a strong contrast to the firmness expressed by the troops in the opening scenes of the opera; he just didn’t fit in and even in his interactions with Marie there was a sense of him being a complete misfit. The only times we got glimpses of his more playful side were in his interactions with Yende’s Marie, which emphasized a strong connection and chemistry between the two, particularly in the Act one love duet where they toyed with one another in enjoyable fashion. Directed by Gary Halvorson.