Donizetti: La Fille du Régiment

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Even Joan Sutherland has rarely, if ever, made an opera recording so totally enjoyable and involving as this. With the same cast (including chorus and orchestra) as at Covent Garden, it was... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 4145202
Label: Decca
Series: Opera Sets
Length: 1 hour 45 minutes

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Donizetti: La Fille du Régiment

Work length1:45:52

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Jules Bruyere (bass), Monica Sinclair (mezzo-soprano), Alan Jones (tenor), Spiro Malas (bass), Dame Joan Sutherland (soprano), Luciano Pavarotti (tenor), Eric Garrett (baritone), Edith Coates (soprano)
Royal Opera House Covent Garden, Chorus of the Royal Opera House, Covent Garden
Richard Bonynge
Recorded: 1967-07-17
Recording Venue: Kingsway Hall, London

Overture

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"L'ennemi s'avance, amis, armons-nous!"

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"Pour une femme de mon nom, quel temps, hélas, le temps de guerre!"

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"Sacré nom d'une pipe!"

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"Au bruit de la guerre"

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"Allons, allons, march', march' à l'instant"

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La la la ...chacum le sait, chacun le dit

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Dès que l'appel sonne

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Ils l'ont emmené brutalement

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"Quoi! vous m'aimez?"

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Rataplan, rataplan, rataplan

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"Ah! mes amis, quel jour de fête!"

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Le camarade est amoureux!

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Je suis soldat

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Entr'acte ... Enfin la voilà

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La romance perdue, on la retrouvée

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"Le jour naissait dans le bocage..."

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"C'en est donc fait, en mon sort va changer"

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"Tous les trois réunis, quel plaisir mes amis!"

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Ecoutez-moi, de grâce

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"Ah!, c'est elle!"

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"Oui! Quand le destin, au milieu de la guerre, enfant, me jeta dans leurs bras"

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Reviews
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Reviews

2010

Even Joan Sutherland has rarely, if ever, made an opera recording so totally enjoyable and involving as this. With the same cast (including chorus and orchestra) as at Covent Garden, it was recorded immediately after a series of live performances in the Royal Opera House, and both the comedy and the pathos come over with an intensity born of communication with live audiences. That impression is the more vivid on this superb CD transfer. As with some of Decca's early CD transfers, you could do with more bands to separate items and it strikes one as odd not to indicate separately the most spectacular of Luciano Pavarotti's contributions, his brief but important solo in the finale to Act 1, which was the specific piece which prompted the much-advertised boast 'King of the High Cs'. For those who want to find it, it comes at 2'58" in band 13 of the first disc. Dazzling as the young Pavarotti's singing is, it's Sutherland's performance which, above all, gives glamour to the set, for here in the tomboy Marie she found a character through whom she could at once display her vocal brilliance, her ability to con- vey pathos and equally her sense of fun. The reunion of Marie with the men of her regiment and later with Tonio makes one of the most heartwarming operatic scenes on record.
The recording is one of Decca's most brilliant, not perhaps quite so clear on inner detail as some, but more atmospheric. Though there are one or two deliberately comic touches that approach the limit of vulgarity, the production is generally admirable. The sound at once takes one to the theatre, without any feeling of a cold, empty studio.

2011 edition

Sutherland is in turn brilliantly comic and pathetically affecting...Pavarotti is an engaging hero and his sequence of high Cs at the end of his aria, 'Pour mon ame', must count as among the most dashing ever recorded....a brilliant, happy opera set.

Donizetti: La Fille du Régiment

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