Interludes

THE HANGOVER REPORT – The Met’s effervescent production of LA FILLE DU RÉGIMENT returns, led by a thrilling Javier Camarena

• By drediman
• March 1, 2019
• No Comments

Javier Camarena leads Donizetti’s “La Fille du Régiment” at the Metropolitan Opera.

I recently had the chance to watch the Metropolitan Opera’s revival of Donizetti’s comic, light-as-air bel canto opera La Fille du Régiment. I had seen the effervescent Laurent Pelly staging – a co-production with the Royal Opera – back in 2011, of which I have fond memories. That revival starred tenor Lawrence Brownlee and soprano Nino Machaidze (Juan Diego Florez and Natalie Dessay, both icons in the world of opera, originally appeared in the production when it was new to the Met in 2008), who sparkled brightly. As does the current cast, particularly Mexican tenor Javier Camarena, who has large shoes to fill in the role vacated by Mr. Florez and Mr. Brownlee. Mr. Camarena plays Tonio, a young man smitten by an orphan “army girl” named Marie. In order to win and legitimize their blossoming love, he enlists in the army, only to learn that Marie has been found and claimed by her wealthy long lost family.

Mr. Camarena aims high, and hits the bulls eye in a sweet-natured, openhearted performance. His bright, ringing rendition of “Pour mon âme” (those nine high C’s!) brought the house to its feet mid-show (a rarity at the Met), which he responded to with an equally stunning encore, which once again stopped the show and was met with enthusiastic ovations. As Marie, Pretty Yende is similarly beguiling in her charming depiction of innocence and youthful exuberance, even if her soprano proved a little underpowered to fully handle the bel canto pyrotechnics of Donizetti’s score. Rounding out the rest of the cast are the large-ovoiced mezzo-soprano Stephanie Blythe, the buffoonish baritone Alessandro Corbelli, and the Met debut of film star Kathleen Turner (smart casting in a delicious speaking role).

Although I find Mr. Pelly’s production a tad drab in the visual department (particularly its muted color pallet), his Monty Python-esque vision for the piece is inspired comic theater. This includes the whimsical, highly choreographed use of the Met Chorus – sounding as robust as ever – which typically has the job of marching blandly on and off the stage. Not so here. Portraying the regiment at large, they were a delight to watch as they organically slinked as a unit (like another character, really) around the huge stage of the opera house. At the performance I attended, the mighty Met Orchestra played crisply and agilely under maestro Enrique Mazzola, who did Donizetti’s buoyant score justice. For those of you thinking about catching the thrilling Mr. Camarena (I encourage you not to miss his performance here), you have only one more opportunity; tomorrow’s matinee is the final performance of this run of La Fille du Régiment.

RECOMMENDED

LA FILLE DUE REGIMENT
Opera
The Metropolitan Opera
2 hours, 35 minutes (with one intermission)
In repertory through March 2