Teatro alla Scala Showcases Donizetti’s “La Fille du Régiment”

The acclaimed production of Gaetano Donizetti’s “La Fille du Régiment” has made a triumphant return to the Teatro alla Scala for the 2024-25 season. Originally premiered on February 11, 1840, in Paris, this opera-comique exemplifies Donizetti’s mastery of the bel canto style and has maintained a strong connection with the Milanese theater since its introduction.

Donizetti’s journey to Paris in October 1838 marked a significant turning point in his career. Already celebrated in Italy, he sought greater recognition in France, a quest that resulted in the creation of “La Fille du Régiment.” The work initially faced harsh criticism, with reviewers calling it “noisy” and insufficiently French. Yet, it ultimately became a staple of the operatic repertoire.

Production Highlights

The current production, directed by Laurent Pelly, is a revival of his celebrated staging first created for Covent Garden in 2007. Notably, this production is also being presented at the Metropolitan Opera, showcasing its international appeal. Pelly’s vision relocates the narrative to World War I, replacing Napoleonic themes with a trench setting that emphasizes humor and camaraderie rather than conflict.

The updated direction, revisited by Christian Räth, enhances the comedy through meticulous timing and updated dialogue in French, courtesy of Agathe Mélinand. The performers not only demonstrate vocal prowess but also excel in their comedic delivery, ensuring that the production remains a benchmark in contemporary opera.

Chantal Thomas’s set design complements the fluidity of the action, incorporating elements such as mountains made of maps and barracks adorned with metal beds. The juxtaposition of war-time uniforms with elegant early-20th-century attire evokes a sense of irony about the aristocracy during this tumultuous period.

Musical and Cast Excellence

Musical direction by Evelino Pidò added a bittersweet flavor to the evening. His interpretation showcased meticulous phrasing and orchestral color but occasionally lacked the theatrical timing associated with bel canto. The orchestra performed with professionalism, though some moments felt subdued, particularly in lively ensembles.

The standout La Scala Chorus, prepared by Alberto Malazzi, delivered a flawless performance that garnered the loudest ovations of the night, showcasing their rhythmic precision and balance.

The principal cast featured Juan Diego Flórez as Tonio, who has become synonymous with this production. Flórez’s portrayal combined technical skill with emotional depth, particularly evident in the aria “Ah! mes amis, quel jour de fête.” His ability to convey innocence and charm while maintaining a powerful vocal line made him a highlight of the evening.

Soprano Julie Fuchs shone in her role as Marie, demonstrating a light and agile voice that effortlessly navigated the demands of both coloratura and lyrical passages. Her performance was characterized by a natural stage presence and an ability to engage with her fellow cast members, particularly in the comedic singing lesson scene.

In the role of Sulpice, Pietro Spagnoli brought a robust voice and impeccable comic timing, creating memorable moments in his duets with Fuchs. The supporting roles were equally well executed, with standout performances from Géraldine Chauvet as the Marquise and Barbara Frittoli as the Duchesse, both enhancing the production’s overall charm.

The audience’s enthusiastic response underscored the production’s success, with thunderous applause following the final bow. While Flórez declined to perform an encore despite audience requests, the evening left a lasting impression, reaffirming “La Fille du Régiment” as a beloved classic that continues to resonate with audiences worldwide.