'The Daughter of the Regiment' The Daughter of the Regiment, from the Vienna State opera, features some of the world's finest voices — both singing, and speaking! Soprano Natalie Dessay sings the title character opposite the brilliant tenor Juan Diego Florez, and renowned soprano Montserrat Caballe makes a surprise appearance in the speaking role of the Duchess of Crackentorp.

Gaetano Donizetti's 'The Daughter of the Regiment'

From the Vienna State Opera

Juan Diego Florez and Natalie Dessay play the troubled but ultimately blissful lovers, Tonio and Marie, in La fille du regiment from the Vienna State Opera. hide caption

toggle caption

Juan Diego Florez and Natalie Dessay play the troubled but ultimately blissful lovers, Tonio and Marie, in La fille du regiment from the Vienna State Opera.


Natalie Dessay ................ Marie

Juan Diego Florez ............ Tonio

Carlos Alvarez ............... Sulpice

Janina Baechle ....... The Marquise

Clemens Unterreiner ... Hortensius

Marcus Pelz ........... The Corporal

Montserrat Caballe ... The Duchess

Vienna State Opera Orchestra

Yves Abel, conductor


In Act 1, Tonio is overjoyed when the Regiment approves his engagement to Marie, and sings the brilliant aria Pour mon ame.

Vienna State Opera on World of Opera -- 'Daughter of the Regiment'

  • <iframe src="https://www.npr.org/player/embed/10352199/10376582" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">

The "B" Side

Donizetti also provided plenty of fireworks for the title character. In the Act 2 aria Pour ce contrat fatal, Marie is relieved when the men of the Regiment arrive, determined to prevent her arranged marriage to young Mr. Crackentorp.

Vienna State Opera on World of Opera -- 'Daughter of the Regiment'

  • <iframe src="https://www.npr.org/player/embed/10352199/10376584" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">

Creative storytellers — from novelists, to film directors, to opera composers — often seem to get crammed into cubbyholes. Rightly or wrongly, they're linked with particular specialties, or placed into handy categories, and it does seem far easier to rattle off lists of specialists than to cite artists who are best known for creative variety.

Director Martin Scorsese has made many different kinds of films, including period drama (The Age of Innocence), documentary (The Last Waltz) and epic biography (The Aviator). But he's generally associated with mob movies, such as Mean Streets, Goodfellas and The Departed. The same goes for Francis Ford Coppola, thanks to the Godfather trilogy.

Writer Stephen King is nearly always noted for his horror novels, though his work ranges over a wide literary territory. Some novelists (Patricia Cornwell, John Sandford, Michael Connelly) have made their names with detective thrillers, while others (Greg Bear, Harlan Ellison, Orson Scott Card) are regarded as science fiction specialists. Sometimes these designations are accurate, but often they don't reflect the true range of an artist's work.

Opera composers get the same treatment. Giacomo Puccini is famous for violent, verismo potboilers, despite his talent for touching romance (La Boheme) and biting satire (Gianni Schicchi). Richard Wagner is known for complex, symbolic dramas based on ancient myths and legends — the massive Ring cycle comes immediately to mind — though he also wrote more lighthearted fare. Even the great Giuseppe Verdi is most often associated with high drama and deadly intrigue, even though his works range from historical epics to family dramas, and even include a comedy or two.

In contrast, Gaetano Donizetti was a composer who seemed to defy categorization. He wrote more than five dozen operas, and his works are nearly impossible to cubbyhole. He became a master of dark, historical dramas, with works like Anna Bolena and Maria Stuarda, and his Lucia di Lammermoor is among the finest examples of romantic tragedy.

Yet Donizetti also had a true genius for comedy, displayed in the brilliant and popular Don Pasquale and the good-natured charmer The Elixir of Love. And then there's the opera featured here, La fille du regimentThe Daughter of the Regiment. It's a rollicking combination of esprit de corps, slapstick antics and innocent romance — not to mention intoxicating music highlighted by spectacular vocal writing.

World of Opera host Lisa Simeone brings us a production of the opera from Vienna, featuring some of the finest voices you'll hear anywhere — both singing and speaking! Soprano Natalie Dessay sings the title character opposite the brilliant tenor Juan Diego Florez, and renowned soprano Montserrat Caballe makes an appearance in the speaking role of the Duchess of Crackentorp — though she does squeeze in a song while she's at it.

The Story of Donizetti's 'The Daughter of the Regiment'

Gaetano Donizetti wrote 65 operas in less than 30 years. At one point, one of every four operas performed in Italy was his. Getty Images hide caption

toggle caption
Getty Images

BACKGROUND: La fille du regimentThe Daughter of the Regiment — was originally written in French, for a premiere at the Opera Comique in Paris in 1840. Not long after that, an Italian version appeared and the opera became even more popular. In London, in 1847, it was performed in English, and its brilliant coloratura made it a favorite with superstar soprano Jenny Lind, who sang it at the Metropolitan in New York.

As with many French operas designated as opera comique, this one includes quite a bit of spoken dialogue. In the Vienna State Opera's production, much of the dialogue was rewritten specifically to reflect the time and place of the performance — and to create a vehicle for Montserrat Caballe's appearance as the Duchess of Crackentorp. For World of Opera, we've left out some of the lengthier spoken passages, while others remain intact.

Act 1: The story takes place in the early 1800s, in the mountains of the Swiss Tyrol. Villagers are gathered around as if on the lookout. They can hear a battle in the distance, and the women pray for a French victory. They're confident because the 21st Regiment of Grenadiers has joined the fight, and they are unbeatable. One of the grenadiers, Sergeant Sulpice, comes on the scene accompanied by an attractive young woman in a military uniform. Her name is Marie, and the grenadiers found her alone on a battlefield when she was just a little girl. The soldiers took her in, protected and raised her, and now love her as their own daughter.

Recently, though, Marie has been glum. Sulpice wonders whether she's brooding over a certain young man she's been seeing. Marie tells him that this young man saved her life — preventing her from falling off a cliff — and there's an attraction between them. That's all well and good, but the regiment has decreed that only a grenadier is worthy of their Marie.

Suddenly there's a commotion. Soldiers have captured a man named Tonio, saying he's been hanging around the camp and is surely a spy. Naturally, he turns out to be the man who rescued Marie from certain death. She pleads his case to the grenadiers, and they say he can go free — so long as he agrees to join the regiment. That's fine with Tonio — he'll do anything that will allow him to be near Marie. When he says he also wants to marry Marie, the soldiers are reluctant. But he wins them over with his sincerity, and Tonio celebrates with the famous number Pour mon ame.

A local Marquise then spoils the fun. She's the Marquise of Birkenfeld, and says she's related to Captain Robert — a former member of the regiment. This, she says, also makes her Marie's aunt. The Marquise has decided that it's unseemly for her own niece to be living with a regiment of soldiers. She declares that, from now on, Marie must live with her, in her grand chateau. It looks like Tonio has become a soldier for nothing. Marie sings a sad farewell to the soldiers, and to Tonio, and heads off to the chateau.

Act 2: At the Chateau de Birkenfeld, the Marquise is educating Marie in "ladylike" pastimes — teaching her to dance the minuet, and to sing more sophisticated music than the soldier songs she learned as a child. But Marie's heart isn't in it. Sulpice has also been staying at the chateau, reluctantly helping with Marie's new "upbringing." When the Marquise dozes, Marie and Sulpice give up on the fancy arias and minuets, and break into the rambunctious Song of the Regiment.

Their enthusiastic singing wakes up the Marquise, and their high spirits are quickly brought down when she reveals that Marie has been promised in marriage to the wealthy son of the house of Crackentorp. But they cheer up again when they hear the martial music of the grenadiers approaching in the distance. The soldiers soon arrive and Marie welcomes her old friends in the joyful scene, Pour ce contrat fatal.

The regiment marches in, led by Tonio, who has been promoted to captain. He sings an emotional Romance, pleading with the Marquise to grant him Marie's hand. The Marquise is moved, but she says it's too late — Marie's marriage has already been arranged. She'll soon be a Crackentorp.

Sulpice is prepared to make one final appeal on the couple's behalf when the Marquise reveals the truth about Marie's heritage. She confides to Sulpice that Marie is not her niece. She is actually the Marquise's daughter, born out of wedlock. Sulpice tells Marie, who caves in. She can't go against her own mother.

Guests arrive to witness the signing of the wedding contract. Marie recalls her tender memories as daughter of the regiment. The aristocrats surrounding her are scandalized. But the Marquise is so touched that she relents, and sends the astonished Crackentorps packing. The Marquise then leads Tonio to Marie and joins their hands. In a rousing ensemble finale, everyone wishes the couple well.