THE DAUGHTER OF THE REGIMENT at Livermore Opera—a Fulfilling Evening

Many laughs, endless melodies

By Jeff Dunn

I couldn't get my fill of the regiment in Donizetti's opera La fille du régiment. Why? Because Livermore Valley Opera's regimental chorus was such a scene stealer. Whenever the outstanding cast of principals had gloriously sung one bel canto aria too many, this eight-man posse of protectors would pop in and provide welcome comic relief. Kudos to Chorusmaster Bruce Olstad and Stage Director Marc Jacobs!

Who is the octet protecting? The Daughter (Marie), a foundling raised by the regiment whom she addresses as her "fathers." We are in the Tyrol of 1809, and the French are battling Austrian sympathizers in an area then under Napoleonic control. Since Donizetti penned his tuneful theaterpiece for the Paris Opéra-Comique, the French occupiers are the good guys. No surprise, then, that local boy Tonio changes sides and enlists in the regiment to go after his squeeze Marie. But it turns out she's the child of the Marquise of Berkenfield, who wants her to marry into nobility. 

Véronique Filloux warmed quickly into her demanding role as Marie, hitting her high notes with power and accuracy, but more importantly conveying an impish sense of fun as a soldiers' pal in Act 1 and as a would-be trainee in aristocracy in Act 2. Chris Mosz brought a uniquely sugary voice to the character of Tonio, effortlessly hitting all eight high Cs in Tonio's famous Act 1 Ah! mes ami ... aria, and even adding a higher-than-high C to the unwritten (by Donizetti) ninth one. Eugene Brancoveanu's rich and venue-filling voice, not to mention his acting, was perfect for his role as Sulpice, the sergeant in charge of the octo-posse. Finally, mezzo-soprano Lisa Chavez' lovely voice was a joy to hear as she negotiated her Marquise's character change from a snobby fussbudget to a woman who begins to display caring for her once-abandoned child at the cost of her own reputation.

Jean-François Revon's sets and projection designs were a marvel–simple, colorful, effective, and surprising when cannon-blast lighting effects popped out in distant background hills. Linda Pisano's wonderful costumes, originally designed for the Utah Opera, were a pleasure to examine in detail during the longer arias.

Music Director Alexander Katsman's tempos and dynamics were managed with aplomb in Francis Griffin's reduced-orchestra score that displayed little trace of emaciation. The horn section had a little difficulty handling the difficult and highly exposed overture opening in the September 28th performance I heard, but the cello section was especially beautiful for the lead-in to the Par le rang et par l'opulence aria in Act 2.

The many laughs, endless melodies, outstanding voices, costumes, and sets all make Livermore Opera's version of La fille a highly recommended and relatively inexpensive way to experience great opera. If you go before it closes on Sunday, October 6th, see if you can hear the clever reference to Rossini's William Tell overture in Donizetti's overture. Both operas take place in the Alps.