Metropolitan Opera tickets 3 November 2025 - La Fille du Régiment | GoComGo.com

La Fille du Régiment

Metropolitan Opera, Metropolitan Opera, New York, USA
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8 PM
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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).

Important Info
Type: Opera
City: New York, USA
Starts at: 20:00
Acts: 2
Intervals: 1
Duration: 2h 50min
Sung in: French
Titles in: English,German,Spanish

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
Tenor: Lawrence Brownlee (Tonio)
Orchestra: The Met Orchestra
Mezzo-Soprano: Alice Coote (The Marquise of Berkenfield)
Soprano: Erin Morley (Marie)
Conductor: Giacomo Sagripanti
Bass-Baritone: Peter Kálmán (Sergeant Sulpice)
Chorus: The Metropolitan Opera Chorus
Creators
Composer: Gaetano Donizetti
Librettist: Jean-François Bayard
Librettist: Jules-Henri Vernoy de Saint-Georges
Director: Laurent Pelly
Overview

A bel canto classic that guarantees astounding singing, Donizetti’s ebullient comedy returns in Laurent Pelly’s “totally delightful” (The New York Times) production, with soprano Erin Morley making her Met role debut as Marie, the intrepid “daughter of the regiment.”

She stars alongside high-flying tenor Lawrence Brownlee as her admirer, Tonio, with mezzo-soprano Alice Coote as Marie’s long-lost mother, the Marquise of Berkenfield, and bass-baritone Peter Kálmán as the gruff but goodhearted Sgt. Sulpice.

World Premiere: Opéra Comique, Paris, 1840. This frothy comedy mixes humor with a rush of buoyant melody and notorious vocal challenges. The story concerns a young orphan girl raised by an army regiment as their mascot and begins at the moment of her first stirrings of love. Complications (and comedy) ensue when her true identity is discovered. The action is startlingly simple and unencumbered by intricate subplots, allowing the full charm of the characters and their virtuosic music to come across in an uninhibited way. 

Bergamo-born Gaetano Donizetti (1797–1848) composed about 75 operas, plus orchestral and chamber music, in a career abbreviated by mental illness and premature death. Apart from the ever-popular Lucia di Lammermoor and the comic gems L’Elisir d’Amore and Don Pasquale, most of his works disappeared from public view after his death. But critical and popular opinion of his huge opus has grown considerably over the past 50 years. The librettist Jules-Henri Vernoy de Saint-Georges (1799–1875) was a dramatist and the manager of the Opéra Comique. He also wrote the libretto for the enduringly popular ballet Giselle and was a frequent collaborator of the most successful theatrical personalities of his day. 

The opera is set in the Tyrol, a picturesque mountain landscape. The Met’s production places the action during the First World War.

Donizetti’s score is a deft combination of jaunty military tunes, brisk comic numbers, enormously graceful ensembles and vocal solos, and sparkling arias. Not many singers have the technical ability and theatrical presence to deliver the famous fireworks arias (notably the soprano’s Act I “Chacun le sait” and the tenor’s Act I “Ah! Mes amis,” with its notorious nine high Cs). Just as important as these, however, are the lyric beauty and pathos of the slower melodic gems (the soprano’s “Il faut partir” in Act I and the tenor’s “Pour me rapprocher de Marie” in Act II).

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

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Opera
City: New York, USA
Starts at: 20:00
Acts: 2
Intervals: 1
Duration: 2h 50min
Sung in: French
Titles in: English,German,Spanish
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