marie gets her man and her gun
by
Douglas Messerli
J.
F. A. Bayard and J. H. Venoy de Saint-Georges (libretto), Domenico Gaetano
Maria Donizetti (composer) La fille du Régiment / the production Howard Fox and I
saw of the Met HD Live presentation was on Saturday, March 2, 2019
Even
the often traditionalist Metropolitan Opera—although far less conservative over
the past many years under the guidance of Peter Gelb—recognizes when it has an
innovative comic hit, as they do in this year’s production of La fille du Régiment, directed by the wonderous
“child-like” Laurent Pelly (who also did the costumes) and conducted by the
performer-behind-the-baton Enrique Mazzola. The Met itself celebrated the near
endless ovations at opera’s end with a convention-like confetti-spray of paper placards
each saying “bravo” and “brava.”
And then there was the absolutely
glorious singing of the two leads, South Africa’s Pretty Yende (as Marie) and
Javier Camarena (as Tonio), who beautifully belts out 9 high C’s in his famous aria
“Ah! mes amis, quel jour de fête!"
The Met has again loosened up its previous ban on
encores,
even encouraging the standing-up applause, while Camarena, tears flowing from
his eyes in appreciation, goes through those high C’s all over again, making it
almost impossible for audience to have clear eyes. Asked in an intermission
discussion how he is able to achieve that, the rather modest Camarena simply
explained that when you’re rehearsing such a role you sing those high C’s far
more often, until your voice becomes raw.
Perhaps the great Peruvian-born singer Juan
Diego Flórez (who Howard saw in another production of this opera) is just as
talented, but there is something about the slightly chubby Camarena’s excited
possibility of marrying this obviously black woman that says so much about
great theater’s ability to transform our visions. These two characters prove
the term, “the willing suspension of disbelief,” as both rather handsome individuals
turn themselves through their singing into the beauteous creatures represented
in the libretto of J. F. A. Bayard and J. H. Venoy de Saint-Georges.
Yende might have been equally applauded
for her “Il faut parir, mes bons
compagnons d’armes” and, in Act II, her lovely lament of having to leave
all she has loved behind.
As if the joys of these two lovers were
not enough, we have before us the always beloved Stephanie Blythe as the
slightly selfish and oafish Marquise of Berkenfield (more of a speaking role
than a singing one, which, given Blythe’s soaring voice, is a bit
disappointing), Maurizio Muraro (as Sulpice)—who it was announced was suffering
from a cold the day we saw the H.D. live-video transmission, but who seemed
still to carry his role to near-perfection—and then, as if allowing us a spicy
topping, presenting actress Kathleen Turner in the entirely-speaking role of
the proud Duchess of Krakenthorp, declaring her frustrations alternately in
rather American accented French and English.
The very athletically-conceived first act,
and the mockingly artificiality of Pelly’s vision of Act II with the servant’s molding
themselves to the walls and furniture they are cleaning, made for great fun. And
then, in Act 1 there was Yende’s sudden surprise, when, upon perceiving her
confused love for Tonio, she mutters unintelligible words—in this case spoken entirely
in the language of the Zulus, including the languages noted clicks. This
production seemed to contain nearly everything one needed to become a kind of
classic vision of the Donizetti opera.
Yes, some of this is simply silly and,
particularly in Act II, a bit over-the-top. But it’s fun always. This is the
kind of opera to which anyone might bring their children or grand-children—although
on the rainy day we saw it, the movie-theater audience was made-up, once more,
of grey-white-purple haired women and their husbands, many of whom came armed
with their walkers. We, alas, are not far from those descriptions. Although I
know the Met cameras must seek them out in their before curtain coverage, there
seems to be many more younger people attending the New York opera house itself.
Opera desperately needs those young people!
And then there is this strange tale about
a young abandoned child adopted, evidently without any abuse, by an entire
military unit of lusty young men. She grows up virtually as an indentured
servant, endlessly washing and cleaning their underwear and cooking their
meals. Marie might as easily be described as a kind of slave, a Cinderella who
is never invited to the ball.
Yet being the “daughter” of an entire
military unit, she is also allowed a great deal of freedom, unforced to play
the proper young woman, even encouraged to be an independent-thinking tom-boy,
who openly grumbles and rebels about anything she doesn’t like. If she cheerily
accepts her endless washing, ironing, and potato-peeling duties, she perceives
herself also as a kind of Joan of Arc, a military woman working alongside of
these men to help France, singing “Salut à
la France” to rile up their patriotic fervor that might see them on to war
with the terrified peasants of Tyrolean Italy.
She is a wild thing, ready at any moment
to carry a gun—a kind of Annie Oakley of the day shocked suddenly into love by
the equally radical Tonio, a milder Wild Bill Hitchcock who, as a Tyrolean,
dares not only to enter enemy territory in search of his love, but to join up
with them, later becoming a kind of French hero.
Indeed, once the local Tyrolean Marquise,
really a kind of wealthy bourgeoise, perceives Marie as being the long-lost
daughter of her sister and dresses her up in a new gown while attempting to teach
the girl proper French and Italian melodies and manners, Yende really does
remind one a bit of Doris Day’s Oakley, all dressed up to entice her “Wild Bill”
Tony. You might almost expect them to break into a chorus of “I Can Do Anything
Better Than You.” One might even describe the 9 high C’s of Tonio in Act I as a
kind of “I can outdo you” in reaction to Marie’s infectious singing.
In fact, Marie’s Tonio rides in to save
her, this time in a absurdly anachronistic machine-gun tank to rescue her from
the dead society (which almost reminded of the audience I describe above) into
which she is being forced to marry.
We know this gutsy young girl will never
be able to survive as the wife of the conveniently absent son (like Tonio, a
tenor playing at the Metropolitan) of the Duchess of Krakenthorp; yet when the
Marquise suddenly admits to Sulpice that she, in fact, is the mother of Marie, the
girl, unwilling, agrees to sign the marriage certificate.
Suddenly, the memory of her youthful
sexual follies almost rejuvenates the Marquise, as she declares that Marie
should marry the man her daughter loves instead of marrying into the dead world
of her own memories of her beloved Robert.
It is somewhat amazingly, accordingly,
that a 17th century Opéra comique might speak so strongly about feminist
aspirations, military incompetence, and patriarchal and matriarchal demands
that speak to our own time. In a far more comic manner, this strong woman
reminds us of more tragic women of opera such as Brünhilde, Carmen, Salome,
Electra, Princess Turandot, and so very many others who attempted, often
successfully but more often forced into death, to rebel against patriarchal
domination. Marie gets her man and her gun; she can now keep her wild identity while
swooning into the arms of her soldier lover.
Los Angeles, March
5, 2019
Reprinted
from USTheater, Opera, and Performance (March
2019).
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