presents Gaetano Donizetti’s
LA FILLE DU RÉGIMENT
THE DAUGHTER OF THE REGIMENT
An OCM Mainstage Comic Opera in Two Acts
directed by Douglas Anderson
conducted by Filippo Ciabatti
Click on each date or visit our EVENTS PAGE for more information.
Productions: May 31, June 2, June 6, June 8, 2024
Cover Performance: June 4, 2024
Meet the Singers Concert: May 18, 2024
Under the age of 26? Check out our Opera Under 26 program to learn how to get free tickets to the opera!
LA FILLE DU RÉGIMENT
An Opera in Two Acts
Music by Gaetono Donizetti
Libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard
staged by Douglas Anderson with full orchestra conducted by Music Director Filippo Ciabatti
Under the age of 26? Check out our Opera Under 26 program to learn how to get free tickets to the opera!
FRIDAY, MAY 31 – OPENING NIGHT + PROSECCO RECEPTION
6:30 pm – Pre-Show talk at Memorial Baptist Church
7:30 pm – LA FILLE DU RÉGIMENT, Town Hall Theater, Middlebury
Post Production – Prosecco Celebration: Open to all, light refreshments served, Prosecco available for 21+, N/A option available.
SUNDAY, JUNE 2 – MATINEE
1:00 pm – Pre-Show talk at Memorial Baptist Church
2:00 pm – LA FILLE DU RÉGIMENT, Town Hall Theater, Middlebury
TUESDAY, JUNE 4 – COVER CAST PERFORMANCE
7:00 pm – LA FILLE DU RÉGIMENT Cover Cast, Town Hall Theater, Middlebury
THURSDAY, JUNE 6
6:30 pm – Pre-Show talk at Memorial Baptist Church
7:30 pm – LA FILLE DU RÉGIMENT, Town Hall Theater, Middlebury
SATURDAY, JUNE 8 – MATINEE
1:00 pm – Pre-Show talk at Memorial Baptist Church
2:00 pm – LA FILLE DU RÉGIMENT, Town Hall Theater, Middlebury
LA FILLE DU RÉGIMENT Cast
SARA LEMESH
Marie
Soprano Sara LeMesh, hailed by the San Francisco Chronicle for her “powerhouse performance of vocal majesty and expressive translucency,” is a dramatic presence on the opera stage, an avid chamber musician, and an advocate of contemporary music. Garnering praise in international vocal competitions, Sara won 1st Prize in the Federation of the Art Song Fellowship Competition, 3rd Prize in the 2023 Serge & Olga Koussevitzky Young Artist Awards, and was a Finalist in the International Vocal Competition of Gabriela Beňačková in the Czech Republic. The “mesmerizing soprano” (Opera News) made recent debuts with West Bay Opera as Isabela Perón in Franzetti’s Corpus Evita and as a soloist with the Brooklyn Art Song Society. Additional opera credits include Frasquita in Bizet’s Carmen (Opera Naples); covering the role of Nellie/Madwoman in Rene Orth’s 10 Days in a Madhouse (Opera Philadelphia); and Bess in Missy Mazzoli’s Breaking The Waves (West Edge Opera).
PATRICK BESSENBACHER
Tonio
Most recently, Patrick Bessenbacher was a Baumgartner studio artist with The Florentine Opera where he performed the roles of Tybalt in Roméo et Juliette and Ferrando in Così fan tutte: Remix. He also covered and stepped in for the final dress rehearsal and both weekend performances of Il barbiere di Siviglia as Count Almaviva, singing “beautifully ... with poise, precision, great facility and finesse, and a sterling tenor sound ... giving a performance that never crossed the footlights as a last-minute casting change” (Milwaukee Journal Sentinel). Formerly a Gerdine Young Artist at Opera Theatre of St. Louis, Patrick was a cover and stepped in on four performances as Remendado in Carmen. Patrick has also gained valuable experience at Seagle Music Festival as well as Marlboro Music Festival, where he uncovered his affinity for vocal chamber music. Having recently signed on with Robert Mirshak and Mirshak Artists Management, Patrick is excited to see what the future has in store. Patrick attended The Juilliard School to study with William Burden and gain more invaluable performance experience, including Acis in Acis and Galatea, Tom Rakewell in The Rake’s Progress, and Fenton in Die Lustigen Weiber von Windsor, among others. When he’s not working, Patrick enjoys spending time with friends and family, and is always looking for an excuse to go back to Colorado and ski. He loves cooking, sports, running, picking the guitar, and telling or listening to a good story.
Richard Bernstein
Sergeant Sulpice
A Metropolitan Opera company member since his debut in 1995, GRAMMY® Award-winning bass Richard Bernstein (Sergeant Sulpice) has appeared with the MET in 539 performances and 125 international live broadcasts to date, including 24 Live in HD performances broadcast in cinemas worldwide. He has also sung leading roles with companies around the country and around the world during his 30-year career. Mr. Bernstein will return to the Metropolitan Opera in 2024-25 for his 29th season. He will perform the roles of Angelotti in Tosca, 2nd Armored Man in The Magic Flute-Holiday Presentation, and 1st Priest and 2nd Armored Man in Die Zauberflöte. He will also be featured as 2nd Soldier in the Met's new production Salome, which will broadcast May 17 for Live in HD. Mr. Bernstein will also be covering roles in Les Contes d'Hoffmann and The Queen of Spades.
ALISSA ANDERSON
The Marquise of Berkenfield
Contralto Alissa Anderson wields her comic prowess, striking features, and powerful vocalism to great acclaim on opera and concert stages worldwide. Alissa achieved considerable success and was celebrated for being “impeccably prepared” and “splendid in every way” when she stepped in as Florence Pike in Santa Fe Opera’s Albert Herring under the baton of Sir Andrew Davis. In 2020, Alissa made a lauded début as Mrs. Lovett at Royal Danish Opera. Opera News raved, “...it was left to an American Mrs. Lovett, Alissa Anderson, to show the natives how it should be done... Anderson was the best of all of them. She has a true contralto voice... her comic timing was exemplary.” Alissa began last season making her début at Hawaii Opera Theatre as Mrs. Medlock in The Secret Garden and made her role and company début at Nashville Opera as Baba in The Medium. She also débuted at Chicago Opera Theatre as the Deaconess in Krol Roger, as Florence Pike in Albert Herring, and with Pacific Symphony as Maddalena in Rigoletto. She embarks upon this season with her Virginia Opera début as Erda in Siegfried, then joins the Dallas Symphony and Highland Park Presbyterian for Dvorak’s Stabat Mater.
ANDY PAPAS
Hortensius
Praised for his “vocal power and finesse” and “irresistible hijinks,” baritone Andy Papas returns to OCM for the fourth time, after performing as Pandolfe in Cendrillon, John Styx in Orphée aux Enfers, and Ali in L’Italiana in Algieri. He was most recently seen in a signature role as the Major General in The Pirates of Penzance for Raylynmor Opera (Keene, NH). In the 2023-2024 season, Andy is pleased to join the roster at Boston Lyric Opera, covering Don Magnifico in La Cenerentola, and in Matthew Aucoin’s Eurydice. For BLO last spring, he covered Owen/Johnson in Rhiannon Gidden’s Pulitzer Prize winning Omar, and was pleased to perform the roles alongside Giddens in a debut with The Ojai Music Festival last summer. Other noteworthy engagements for Andy include the title role in Don Pasquale for Opera Saratoga, Doctor Bartolo (Il barbiere diSiviglia) with Anchorage Opera, Music Master in Ariadne auf Naxos with Vashon Opera, and the title role in Falstaff with Raylynmor Opera.
Haozhen Wen* - A Corporal
Orlando Montalvo Avalo* - A Peasant
*Please see Haozhen and Orlando's bios on the Young Artist Program page HERE.
Angelica McLennan
The Duchess of Krackenthorp
Angelica McLennan, contralto and native of the Berkshires of MA, grew up in a musical, theatrical family, studying piano and singing in choruses. She spent two years in Switzerland for middle school, where she learned French. Her love of the language served her well throughout her life. On moving to Vermont in 1980, she sang in several choruses and enjoyed solo work for 20 years. She was featured with Burlington Choral Society for its 20th anniversary, in a memorable performance of the Incantation of the Witch of Endor in Honegger's King David. To her delight, this gave her the occasion to be dramatically expressive in a spoken role.
Jonathan Isham
Notary, Ensemble Baritone
Jon Isham, a professor of economics and environmental studies at Middlebury College, is appearing in his third Opera Company of Middlebury production. In 2015 he covered for the Emperor in Turandot, and in 2023 he was a member of the prisoner's chorus in Fidelio. Jon is also a new member of the OCM's board of directors, so he encourages you to donate generously to this wonderful company!
LA FILLE DU RÉGIMENT Cover Cast
Théodora Cottarel
Marie cover
Théodora Cottarel is a French-American soprano, and has been recognized for her “electrifying” (Schmopera) performances and her “beauty of tone” (Houston Press). Recently, she won second prize in Seattle Opera Guild’s competition granting her the Artistic Development Award. In 2024, Théodora is set to make her debut as Violetta in La Traviata with Snug Harbor Cultural Center, as Elisetta in Il matrimonio segreto by Cimarosa with Puget Sound Concert Opera, and will join Florentine Opera as a Summer Studio Artist performing in “Covers”. Théodora Cottarel has performed internationally with renowned companies such as the Rome Philharmonic, Odyssey Opera, and at the Théâtre des Champs-Elysées. Roles include: Donna Anna (Don Giovanni), Madame Goldentrill (The Impresario), Cendrillon (Cendrillon), Micaëla (Carmen), Fiordiligi (Così fan tutte), Pamina (Die Zauberflöte), Gretel (Hansel and Gretel), Elvira (Don Giovanni), Servilia (La Clemenza di Tito), Arminda (La Finta Giardinera), and Despina (Così fan tutte).
Marcus Huber
Tonio cover
Described as “warm, earnest, and confident” onstage (Boston Music Intelligencer), Marcus Huber has recently appeared as George Gibbs in Our Town, Laurie in Little Women, William in The Infinite Energy of Ada Lovelace, and David in If I Were You with Boston University Opera Institute. On the concert stage, Marcus has appeared as the tenor soloist in Handel’s Messiah, Mozart’s Waisenhausmesse, and Haydn’s Missa in tempore belli, among others. Marcus has been a young artist with Opera Neo and The Ohio Light Opera, and he has been a winner of Rhode Island Civic Chorale’s Collegiate Voice Competition and OperaLancaster’s Young Artist Competition.
Nate Mattingly
Sergeant Sulpice cover
From Fort Worth, TX, bass-baritone, Nate Mattingly is known for his acute musicianship, powerful stage presence, beautiful vocal production, and background in theory and composition. Nate has appeared in roles such as Salieri in Mozart & Salieri (Opera Saratoga), Secret Police in The Consul (Opera Saratoga), Judge Dodsworth in Voir Dire (Fort Worth Opera), Yeltsin in Yeltsin in Texas (Fort Worth Opera), and Friedrich Bhaer in Little Women (Opera in the Heights). When not on stage, Nate collaborates in new music forums such as Frontiers, American Lyric Theater’s Composer Librettist Development Program, and Seagle Music Colony’s American Center for New Works Development. Nate is now an extra chorister for the Metropolitan Opera (Lohengrin; Don Carlos/Don Carlo; Die Meistersinger von Nürnberg; Götterdämmerung) and currently resides in Kingston, Oklahoma when not working in NYC. Nate will appear in the Bard SummerScape Opera as Anabaptiste/Officier/Bourgeois in Meyerbeer’s Le prophète this summer.
Emily Geller
The Marquise of Berkenfield cover
Lauded for her "lower extension that has to be heard to be believed," Emily Geller is a contralto based in New York City. Her recent performances include Mistress Quickly in Falstaff, Zita in Gianni Schicchi with Salt Marsh Opera, Ruth in The Pirates of Penzance with Pacific Opera Project, Suzuki in Madama Butterfly with Teatro Lirico d’Europa (US Tour), and Benoit/Alcindoro in La bohème with Newport Classical. In addition to opera, last season Emily Geller appeared in numerous concerts, including Brahms’s Alto Rhapsody and Elgar’s The Music Makers with Cappella Cantorum, Brahms’s Alto Rhapsody with the Mendelssohn Glee Club of New York City, Handel’s Messiah with Taconic Opera, and a concert at the Pasadena Tournament of Roses House with the Rose Parade. This season’s engagements include a return to Pacific Opera Project as Prince Orlofsky in Die Fledermaus, the Alto Soloist in Mozart’s Requiem with Taconic Opera, and her role and house debut as The Marquise of Berkenfield in La fille du régiment with Opera Company of Middlebury. Emily Geller has performed with Tri-Cities Opera, St. Petersburg Opera, Opera North, Opera on the James, Natchez Festival of Music, Opera Fayetteville, and Experiments in Opera.
Tess Klibanoff* - Hortensius cover
Patrick Connolly* - A Corporal cover
Jared Vigue* - A Peasant cover
*Please see Tess, Patrick, and Jared's bios on the Young Artist Program page HERE.
LA FILLE DU RÉGIMENT Ensemble
Chorus Master: Nathaniel Lew
Lillian Broderick, Soprano + Marie study cover
Cristina Escobedo, Soprano*
George Lane, Soprano*
Wanda Sullivan, Soprano*
Gail Isenberg, Mezzo
Tess Klibanoff, Mezzo*
Lori Marino, Mezzo
Brian Clancy, Tenor
Matt DeDiana, Tenor
Francesco DiLello, Tenor*
Ryan Matos, Tenor
Orlando Montalvo Avalo, Tenor*
Jared Vigue, Tenor*
Patrick Connolly, Baritone*
Kai Fukuda, Baritone
Richard Isenberg, Baritone
Jonathan Isham, Baritone
John-Eric Robinson, Baritone
Nathan Stefani, Baritone
Neil Wacek, Baritone
Haozhen Wen, Baritone*
*denotes 2024 Young Artist
LA FILLE DU RÉGIMENT Orchestra
Conductor: Filippo Ciabatti
Violin
Ira Morris, Concertmaster
Brooke Quiggins, Assistant Concertmaster
Sofia Hirsch
Christopher Stork
Laura Markowicz
Marcia Cassidy, Principal Second
Mary Gibson
Melanie Dexter
Owen Lenz
Viola
Elizabeth Reid, Principal
Stefanie Taylor
Ana Ruesink
Cello
John Dunlop, Principal
Jonathan Brin
Perri Morris
Bass
Louis Kosma
Flute/Piccolo
Melanie Williams
Oboe/English Horn
Michelle Farah
Clarinet
Hyunwoo Chun
Bassoon
Allen Hamrick
Horn
Sel Yargici, Principal
Patrick Kennelly
Trumpet
Mark Emery
Timpani
Nicola Cannizzaro
Percussion
Rosina Cannizzaro
Keyboard
Yihao Zhou
La Fille du Régiment is a charming tale set in the picturesque Austrian Alps, where youthful rebellion, familial tensions, and blossoming romance take center stage. Follow Marie, a spirited orphan raised by a regiment of French soldiers, as she navigates the complexities of love and loyalty. When she falls for a rebel opposed to her regiment, Marie must confront obstacles like war, paternal disapproval, and revelations about her noble lineage to achieve her desired happy ending.
La Fille du Régiment will be performed in French with English supertitles.
Act I
Tyrol, a small yet patriotic region in the Austrian Alps.
As a French regiment marches on a small Tyrolean town, the terrified villagers pray to the Virgin Mary for protection. Armed only with pitchforks and hoes, they fear their humble defenses will be no match for the French army. Joining the villagers in prayer is the Marquise of Berkenfield, a noblewoman traveling to her country estate. Although the Marquise is frightened by the battle, she is more concerned about the inconvenient delay the war has caused her. When news arrives that the French have halted their attack, the villagers are surprised but relieved. The Marquise orders her butler, Hortensius, to scout a safe passage for their journey onward. Leaving the village, Hortensius runs into Sulpice, the friendly sergeant of the 21st French regiment, which is camped in a field nearby.
Meanwhile, in the soldiers’ camp, a young woman cleans a huge pile of laundry. It is Marie, the “daughter of the regiment.” Abandoned on a battlefield as a baby, she was found and raised by the soldiers of the 21st. She proudly thinks of herself as a soldier like her “fathers,” but her allegiance to the French regiment has not kept her from striking up a friendship with a young Tyrolean named Tonio. Sulpice has heard rumors about Marie’s budding romance. He sternly reminds her the French are at war with Tyrol—and thus any Tyrolean is an enemy. When some of the soldiers find Tonio lurking near their camp and accuse him of being a spy, Marie rushes to his defense. She says that Tonio saved her from falling off a cliff while she was picking flowers one day. The good-natured soldiers agree that anyone who saved Marie’s life must be a friend after all, and they invite Tonio to drink a toast to France. Tonio is torn: As a proud Tyrolean, he hates the French invaders. On the other hand, being friendly with the regiment means he can visit Marie whenever he likes. When Marie sings the regiment’s theme song, Tonio happily joins in.
Later that evening, Marie sits by herself peeling potatoes. Tonio enters and tells Marie he loves her. Marie says she loves him, too. Sulpice, however, is furious when he discovers Marie kissing the Tyrolean villager. He reminds Marie that she promised to marry one of the regiment’s soldiers. Marie declares she’d rather remain single forever. Tonio says he will simply ask one of Marie’s “other fathers” for permission to marry her, and Sulpice threatens to have Tonio shot for treason. Their argument is interrupted by the arrival of the Marquise, who asks Sulpice to escort her to Château Berkenfield, her country estate. When Sulpice hears the name, he recognizes it from a letter he found with the infant Marie, signed by a “Robert Berkenfield.” The Marquise is overjoyed. She declares that Robert was her sister’s husband and Marie is her long-lost niece. Tonio enters, dressed in a French army uniform. He has joined the regiment, and Marie can now marry him without breaking her promise to marry one of the soldiers. But when the Marquise announces that she is taking Marie to her new home at Château Berkenfield, Marie must bid a tearful farewell to both the man she loves and the only family she has ever known.
Act II
Château Berkenfield, the day of Marie’s wedding.
Meanwhile, the Marquise has a secret: Marie is not her niece. In fact, the Marquise never had a sister at all, and the “Robert” who signed the letter found with Marie was the Marquise’s boyfriend. In other words, Marie is the Marquise’s own daughter. Forced to abandon the baby, the Marquise never lost hope that they would one day be reunited. Unfortunately, since Marie was born out of wedlock, she has no right to the Berkenfield fortune. Thus, the Marquise has arranged for her to marry the nephew of the phenomenally wealthy Duchess of Krakenthorp. She knows Marie does not love the young Duke, but the marriage will ensure Marie’s wealth and social standing.
Marie enters the parlor for her singing lesson. She is surly and frustrated by the Marquise’s constant demand that she “act like a lady,” and the desperate Marquise has called Sulpice to the castle in the hope that he can convince Marie to behave. When Marie sees Sulpice, however, she can’t resist saucily peppering the elegant French love song she is supposed to be singing with melodies from the regiment’s theme. Frustrated by the constant interruptions, the Marquise storms out.
Left alone, Marie recalls her happy childhood. She would gladly give up her new wealth and jewels to return to her life as a soldier. Hearing the regiment’s theme song in the distance, Marie realizes that her “fathers” and Tonio have come to see her. She is overjoyed. The Marquise, however, is annoyed by the unwelcome visitors and outraged when she sees Marie with Tonio. Tonio explains that he loves Marie with all his heart, yet the Marquise cannot believe that a poor soldier is worthy of Marie’s love. When the guests arrive for Marie’s wedding to the Duke, they are scandalized by the grubby soldiers’ presence. The Marquise, realizing that her daughter’s happiness is more important than money, finally relents. The curtain falls as the guests celebrate Marie’s marriage to Tonio.
[Synopsis courtesy of The Metropolian Opera.]
OCM recommends the following audio recording of La Fille du Régiment :
OCM also recommends listening to The Metropolitan Opera’s podcast Aria Code, hosted by Rhiannon Giddons. Season 1, Episode 2 discusses the famous FILLE aria Ah, mes amis!
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