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In 1840, Donizetti set a libretto penned by Jules-Henri Vernoy de Saint-Georges and Jean-Francois Bayard, but the opera has a long history of being done in something other than its original French. In fact, this opera comique adapts surprisingly well to English. With straightforward music and the practicality of spoken dialogue, the production was engaging and accessible. Admittedly, French does not convert seamlessly to English, but Dorothy Danner did her homework, studying available translations to assemble a credible amalgamation of the options.

Daughter (along with L’elisir d’amore and Don Pasquale) represents the sunnier side of Donizetti, a composer known for setting historical dramas that weave heavy, murderous plots. Here instead is lighter fare that tells the story of Marie, a different kind of vivandiere, who, instead of choosing to follow a military contingent, was adopted as an infant into the Twenty-First Regiment and has never known anything else.

The story is absurd: baby girl is abandoned in a basket. Army sergeant Sulpice finds baby girl. Army regiment embraces baby girl as one of their own. Girl grows up among nurturing warriors to find herself promised in marriage to a regiment soldier, yet struggles with her heart’s desire to marry another man, Tonio, who is not a regiment soldier. All of the comic opera essentials are in play; witty chatter in dry recitative or spoken dialogue combines with fast-paced action to introduce themes of love, duty, and of course, misunderstanding.

The chorus’ entrance was lively. The group was nimble and animated while wielding shovels, hoes, and rolling pins (needless to say they were not a very menacing bunch). Danner directed a physical show that exploited musical punctuations and plot twists. Of course, Danner is adept at weaving boisterous antics into a convoluted plot, as she directed the Lyric’s 2009 presentation of Pirates of Penzance. The chorus formations used the entire stage, and the whole show was humorously chaotic.

Joyce Castle was positively radiant as La Marquise, matronly yet alive with exquisite comic timing. Although running around the piano during and after a voice lesson will cause any singer to labor, Castle’s signature lush tone delivered. Castle meshed beautifully with John Stephens’ Sulpice, and audience reaction revealed appreciation for these veterans’ willingness to go to the comic extremes of each scene.

Nili Riemer’s versatility was once again in full display on the Lyric stage. From the start Riemer thoroughly embodied a carefully developed character; her Marie was a petulant, bright-eyed, utterly charming tom-boy. Riemer was serious and plaintive, then innocent and childlike, all while exhibiting remarkable range, consistency, and control.  Her dramatic instincts are superb, really. She carelessly flits and flirts, but balances that with brief glimpses of a mature, thoughtful young woman. Riemer brings perfect diction and a fresh elegance even in farcical moments.

It took time for Victor Ryan Robertson to establish a strong Tonio. His tenor, remarkable in its purity of tone, was often overpowered by the chorus and orchestra. Certain blocking demands meant lost phrases and in several instances tempos were pushed so that consonants were rushed or dropped altogether. When front and center, Robertson projected well, but the famous “Ah! Mes amis” was not his strongest moment. In fact, instead of wallowing some in the number’s multiple high C’s he seemed short on sustain. This was only Act One, however, and Robertson was simply slow to warm up. The audience watched Tonio, sweet in his ardent pursuit of Marie, hit his lyrical mark in Act Two.

As the butler Hortensius, Robert Gibby Brand was generous with the antics and as engaging as ever. He was agitated, impatient, and tired—and the character was a riot. Debra Bluford acted a regal and hysterical Duchess, nailing her speaking role. The chorus yielded several stand-outs like Brad Walker (Corporal) and Ben Gulley (Peasant) and both were a bold presence.

The orchestra (commanded by Joseph Walsh) is relegated mainly to an accompanimental role, rather typical of mid-nineteenth-century Italian opera; however, the overture, boasting winds and delicate brass for bucolic color, offered potent imagery to set the scene. The stage design was a smart complement to the unpretentious music and dialogue, and a rich violet palette was a gorgeous backdrop for the parlor of the Marquise’s chateau.

What is missing throughout (and blame Donizetti) are any real opportunities for a singer to settle into a musical moment. And, with the many distractions to take in simultaneously, the audience never gets the chance to single-mindedly focus on a solo or a duet. The commotion and disorder of the show call for a dramatic pace that affects perceived relationships among characters as well. The most convincing connection was the father-daughter bond between Marie and Sulpice, but to be fair, Tonio’s tame courtship of Marie eventually convinced that this young couple was ready to explore real love.

Throughout, I sensed that the singers and actors were allowed flexibility to create as they went, so that a promise of the unexpected lurked in every scene. The review of opening night should not give too much away, but note that Count Dracula makes an appearance, and that Ron Megee (dressed from head to toe in fluffy lavender) brought a sort of Napoleon Dynamite-like spin to his Duke Jean-Luc.

REVIEW:
Lyric Opera of Kansas City
The Daughter of the Regiment                                      
Saturday, February 19 at 8 p.m. (reviewed)                                           
Runs February 23, 25 and 27
Lyric Theatre
11^th and Central, Kansas City, MO
For tickets call 816-471-7344 or online at www.kcopera.org

Top Photo: Nili Riemer and ensemble (Photo by Cory Weaver)

By Sarah Tyrrell

Opera, Vocal and Classical Contributor

Since 2004, Dr. Sarah Tyrrell has been part of the Musicology faculty at the UMKC Conservatory of Music. In 2003, she completed doctoral work at the University of Kansas and also holds degrees in music history and voice performance from the New England Conservatory of Music and Kansas State University. At UMKC, Sarah teaches undergraduate and graduate classes in music history and world music, as well as graduate seminars on American and Latin American musics. Sarah has presented her research locally and nationally (her research specialty is the art music of Brazil) and actively guest lectures about town on Brazilian popular subjects such as samba and bossa nova. Her articles and reviews have appeared in Musical Quarterly, Latin American Research Review, and Latin American Perspectives.

Sarah is also active in the Kansas City choral music scene: she is the Artistic Director of the Metropolitan Chorale of Kansas City and also sings soprano with the group. This 60-voice ensemble presents four concerts each year and recently completed a performance tour of Brazil.