On Friday my wife and I went to see Donizetti’s 1840 comic opera at Lyric Opera. It was enormous fun. Neither my wife nor I had ever seen the work staged before and we both enjoyed it. The music—principals, chorus, and orchestra were uniformly excellent.
I don’t have words of praise strong enough for our Marie, sung by Lisette Oropesa. She was exceptional in every way from her singing through her acting to her physicality. She was simply brilliant and I hope we hear her again in something soon. Lawrence Brownlee did a fine job of singing the grueling role of Tonio (ten high Cs in a single aria!).
Chicago Tribune
Hannah Edgar declaims:
Oropesa has sung Marie before — opposite Brownlee, no less, including a 2016 Washington National Opera production now famous for Ruth Bader Ginsburg’s cameo appearance as the Duchess of Crakentorp. Gawky and tomboyish, Oropesa’s Marie owns “Régiment’s†most hilarious and most vocally sublime moments. Oropesa’s coloratura stylings have a sturdy backbone, easily carrying over the orchestra and through the hall. Her upper register is tenacious, too — twice in this staging, Oropesa has to hit high notes while being hoisted in the air by castmates. Hearing her, one would never guess she was being tossed around like a Raggedy Ann doll while slugging out Ds above the staff.
Oropesa has sung Marie before — opposite Brownlee, no less, including a 2016 Washington National Opera production now famous for Ruth Bader Ginsburg’s cameo appearance as the Duchess of Crakentorp. Gawky and tomboyish, Oropesa’s Marie owns “Régiment’s†most hilarious and most vocally sublime moments. Oropesa’s coloratura stylings have a sturdy backbone, easily carrying over the orchestra and through the hall. Her upper register is tenacious, too — twice in this staging, Oropesa has to hit high notes while being hoisted in the air by castmates. Hearing her, one would never guess she was being tossed around like a Raggedy Ann doll while slugging out Ds above the staff.
It’s been 50 years since Lyric has produced Daughter of the Regiment.
Chicago Sun-Times
Kyle MacMillan reports:
This presentation is a revival (directed by Christian Räth) of a co-production of the Royal Opera in London, Vienna State Opera and Metropolitan Opera in New York that was overseen by one the most talented and successful directors of our time, Laurent Pelly.
Rather than try to impose some kind of unnecessary, burdensome theatrical construct or concept onto this opera, Pelly has done what he always does so well, connect with the essence of this opera in an original, down-to-earth and delightfully entertaining way.
Nothing is ever static here. This production bustles with energy and movement (credit is also due to the original choreographer, Laura Scozzi), with, for example, the soldiers shuffling, clambering and marching to and fro and recoiling en masse and offering group double-takes to all that is happening.
and
A Lyric regular and understandably so, Corbelli is a superbly gifted comic actor who lights up the role of the lovable and grandiosely mustachioed Sulpice with his flawless French, boundless verve and burnished baritone voice.
Brownlee is particularly acclaimed as a bel canto interpreter, and it’s not hard to understand why. He shows an innate affinity for Donizetti’s vocal lines, investing his arias with compelling expressiveness and displaying dazzling technique as he hit every high note and garnered sustained ovations along the way Saturday evening.
The ultimate star of the show, though, is Oropesa, an American soprano who is making her Lyric debut. An innate physical comedian with a comfortable, compelling stage presence, she is a complete natural as Marie.
Oropesa has a supple, agile soprano voice, with a winningly honest and direct style. Seemingly unfazed by the vocal or physical demands of this role, this indefatigable singer handles its legendary coloratura with eye-opening ease and aplomb. Expect to see Oropesa back as soon as Lyric can re-sign her.
It’s been a while since we’ve had a star of Ms. Oropesa’s caliber at Lyric.
Chicago Onstage
The Daughter of the Regiment is stunning and joyful, hilarious and fabulous, gorgeous and exquisite, clever and poignant. The music is beautiful. The arias soar. The performances are unforgettable. The orchestra’s terrific. It sounds fantastic and looks amazing. And above all, it is just pure fun. Undeniable, absolute fun. If you’re looking for an opera you can love, this is it.
Every review I’ve found recommended the production very highly.
