Mariinsky Theatre: La Fille du régiment (concert performance) Tickets | Event Dates & Schedule | GoComGo.com

La Fille du régiment (concert performance) Tickets

Mariinsky Theatre, Saint Petersburg, Russia
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Available Dates: 6 May, 2025 (1 events)
Important Info
Type: Opera in Concert
City: Saint Petersburg, Russia
Acts: 2
Titles in: Russian

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
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Creators
Composer: Gaetano Donizetti
Librettist: Jean-François Bayard
Librettist: Jules-Henri Vernoy de Saint-Georges
French language Coach: Ksenia Klimenko
Musical Preparation: Larisa Gergieva
Chorus Master: Pavel Teplov
Overview

Opéra comique (concert performance)

History
Premiere of this production: 11 February 1840, Salle de la Bourse, Paris

La fille du régiment (The Daughter of the Regiment) is an opéra comique in two acts by Gaetano Donizetti, set to a French libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard. La fille du régiment quickly became a popular success partly because of the famous aria "Ah! mes amis, quel jour de fête!", which requires of the tenor no fewer than eight high Cs – a frequently sung ninth is not written. La figlia del reggimento, a slightly different Italian-language version (in translation by Calisto Bassi), was adapted to the tastes of the Italian public.

Synopsis

Act 1

War is raging in the Tyrols and the Marquise of Berkenfield, who is traveling in the area, is alarmed to the point of needing smelling salts to be administered by her faithful steward, Hortensius. While a chorus of villagers express their fear, the Marquise does the same: Pour une femme de mon nom / "For a lady of my family, what a time, alas, is war-time". As the French can be seen to be moving away, all express their relief. Suddenly, and provoking the fear of the remaining women who scatter, Sergeant Sulpice of the Twenty-First Regiment of the French army arrives and assures everyone that the regiment will restore order.

Marie, the vivandière (canteen girl) of the Regiment, enters, and Sulpice is happy to see her: (duet: Sulpice and Marie: Mais, qui vient? Tiens, Marie, notre fille / "But who is this? Well, well, if it isn't our daughter Marie"). Then, as he questions her about a young man she has been seen with, she identifies him as Tonio, a Tyrolean. At that moment, Tonio is brought in as a prisoner, because he has been seen prowling around the camp. Marie saves him from the soldiers, who demand that he must die, by explaining that he had saved her life when she nearly fell while mountain-climbing. All toast Tonio, who pledges allegiance to France, and Marie is encouraged to sing the regimental song: (aria: Chacun le sait, chacun le dit / "Everyone knows it, everyone says it"). Sulpice leads the soldiers off, taking Tonio with them, but he runs back to join her. She quickly tells him that he must gain the approval of her "fathers": the soldiers of the Regiment, who found her on the battlefield as an abandoned baby, and adopted her. He proclaims his love for her (aria, then love duet with Marie: Depuis l'instant où, dans mes bras / "Ever since that moment when you fell and / I caught you, all trembling in my arms..."), and then the couple express their love for each other.

At that point, Sulpice returns, surprising the young couple, who leave. The Marquise arrives with Hortensius, initially afraid of the soldier, but is calmed by him. The Marquise explains that they are trying to return to her castle and asks for an escort. When hearing the name Berkenfield, Sulpice immediately recognizes it from a letter found with Marie as an infant. It is discovered that Marie is actually the Marquise's long-lost niece. Marie returns and is surprised to be introduced to her aunt. The Marquise commands that Marie accompany her and that she will be taught to be a proper lady. Marie bids farewell to her beloved regiment just as Tonio enters announcing that he has enlisted in their ranks: (aria: Ah! mes amis, quel jour de fête / "Ah, my friends, what an exciting day"). When he proclaims his love for Marie, the soldiers are horrified, but agree to his pleading for her hand. However, they tell him that she is about to leave with her aunt: (Marie, aria: Il faut partir / "I must leave you!"). In a choral finale in which all join, she leaves with the Marquise and Tonio is enraged.

Act 2

Marie has been living in the Marquise's castle for several months. In a conversation with Sulpice, the Marquise describes how she has sought to modify most of Marie's military manners and make her into a lady of fashion, suitable to be married to her nephew, the Duke of Crakenthorp. Although reluctant, Marie has agreed and Sulpice is asked to encourage her. Marie enters and is asked to play the piano, but appears to prefer more martial music when encouraged by Sulpice and sings the regimental song. The Marquise sits down at the piano and attempts to work through the piece with Marie who becomes more and more distracted and, along with Sulpice, takes up the regimental song.

Marie is left alone: (aria: Par le rang et par l'opulence / "They have tried in vain to dazzle me"). As she is almost reconciled to her fate, she hears martial music and is joyously happy (cabaletta: Oh! transport! oh! douce ivresse / "Oh bliss! oh ectasy!"), and the Regiment arrives. With it is Tonio, now an officer. The soldiers express their joy at seeing Marie, and Marie, Tonio and Sulpice are joyfully reunited (trio, Marie, Sulpice, Tonio: Tous les trois réunis / "We three are reunited"). Tonio mentions he has just learned a secret, via his uncle the burgermeister, that he cannot reveal.

The Marquise enters, horrified to see soldiers. Tonio asks for Marie's hand, explaining that he risked his life for her (aria, Tonio: Pour me rapprocher de Marie, je m'enrôlai, pauvre soldat / "In order to woo Marie, I enlisted in the ranks"), but she dismisses him scornfully. Tonio reveals that he knows that the Marquise never had a niece. She orders him to leave and Marie to return to her chambers; after they leave, the Marquise confesses the truth to Sulpice: Marie is her own illegitimate daughter. In the circumstances, Sulpice promises that Marie will agree to her mother's wishes.

The Duchess of Crakenthorp, her son the groom-to-be, and the wedding entourage arrive at the Marquise's castle. Marie enters with Sulpice, who has given her the news that the Marquise is her mother. Marie embraces her and decides she must obey. But at the last minute the soldiers of the Regiment storm in (chorus: soldiers, then Tonio: Au secours de notre fille / "Our daughter needs our help") and reveal that Marie was a canteen girl. The wedding guests are offended by that fact, but are then impressed when Marie sings of her debt to the soldiers (aria, Marie: Quand le destin, au milieu de la guerre / "When fate, in the confusion of war, threw me, a baby, into their arms"). The Marquise is deeply moved, admits she is Marie's mother, and gives her consent to Marie and Tonio, amid universal rejoicing (final chorus: Salut à la France! / "Hurrah for France! For happy times!").

Venue Info

Mariinsky Theatre - Saint Petersburg
Location   1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.

Important Info
Type: Opera in Concert
City: Saint Petersburg, Russia
Acts: 2
Titles in: Russian

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

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