La Fille Du Regiment: Act One: Pour une femme de mon nom
La Fille Du Regiment: Act One: Sacre nom d'une pipe!
La Fille Du Regiment: Act One: Au bruit de la guerre
La Fille Du Regiment: Act One: llons, allons, march', march'
La Fille Du Regiment: Act One: la la... Chacun le sait, chacun le dit
La Fille Du Regiment: Act One: Des que l'appel sonne
La Fille Du Regiment: Act One: Ils l'ont emmene brutalement
La Fille Du Regiment: Quoi! vous m'aimez?
La Fille Du Regiment: Act One: Rataplan, rataplan, rataplan
La Fille Du Regiment: Act One: Ah! mes amis, quel jour de fete!
La Fille Du Regiment: Act One: Le camarade est amoureux!
La Fille Du Regiment: Act One: Je suis soldat
Track Listings (8) - Disc #2
La Fille Du Regiment: Entr'acte
La Fille Du Regiment: Act 2: La romance perdue, on l'a retrouvee
La Fille Du Regiment: Act 2: Le jour naissait dans le bocage
La Fille Du Regiment: Act 2: n est donc fait
La Fille Du Regiment: Act 2: Tous les trois reunis
La Fille Du Regiment: Act 2: Ecoutez - moi, de grace!
La Fille Du Regiment: Act 2: Ah! c'est elle!
La Fille Du Regiment: Act 2: Oui! Quand le destin, au milieu de la guerre
This opera, about an orphan girl who is adopted by a whole regiment of Napoleon's army (meaning that anyone who wants to marry her must get the regiment's consent) combines sparkling comedy with spectacular vocal writin... more »g--not only for the soprano but for the tenor who, in one legendary passage, must produce nine high Cs in quick succession. Pavarotti's performance in this production, fairly early in his career, ranks with his Nemorino in L'Elisir d'amore, among the best of his recording career. Sutherland finds the role of Marie congenial, in terms of characterization as well as vocally, and the conducting is generally acceptable if not spectacularly good. --Joe McLellan« less
This opera, about an orphan girl who is adopted by a whole regiment of Napoleon's army (meaning that anyone who wants to marry her must get the regiment's consent) combines sparkling comedy with spectacular vocal writing--not only for the soprano but for the tenor who, in one legendary passage, must produce nine high Cs in quick succession. Pavarotti's performance in this production, fairly early in his career, ranks with his Nemorino in L'Elisir d'amore, among the best of his recording career. Sutherland finds the role of Marie congenial, in terms of characterization as well as vocally, and the conducting is generally acceptable if not spectacularly good. --Joe McLellan
"I love this set. It always put a smile on my face. To begin, the music is marvelous..very catchy tunes. As Marie, Sutherland is a breath of fresh air...what lovely tone quality...what breathtaking coloratura and high notes. The diva simply makes child's play with marie's difficult arias, interpolating many high E's and trills, and fioratura. Sutherland is the supreme vocal virtuoso. Pavorotti is at his absolute best here, never have I heard him in better voice, what a talent he is. Wait till you hear him hit the nine high C's in his big aria! Yes...that's nine high C's in one aria! This set is must have for everyone who loves opera and beautiful singing."
Wonderful
Adam Bonarek | Ann Arbor, MI, USA | 03/20/2000
(5 out of 5 stars)
"Having just completed a performance run of this opera at the University of Michigan, this recording was insturmental in helping to learn and understand the entire opera. Hearing Sutherland and Pavorotti nail their arias is simply an inspiration. What an amazing recording--and an amazing opera."
Just Amazing!
Adam Bonarek | 02/02/2002
(5 out of 5 stars)
"What an amazing recording! What an amazing opera...and above all what a great performance.La Fille du Regiment is by far the most "naive" and yet the most attractive opera in the repertory. It is an "operetta" before operetta was really created. It contains delicious melodies well mixed with love and, to a lesser extent, patriotism.Oh! What a Performance...truly amazing. It is a big meal of perfect High C's D's and E's by two of the most loved opera singers ever.It is said that the Pavarotti-mania came after a performance of this opera at the met...well just listen to this recording and you'll understand why! His voice has never been as shiny, as clean and as beautiful. The frech accent is not perfect...but who cares...Bravo Pavarotti.Sutherland is more than exceptional. Perfectly and clearly singing every word... her voice is enchanting!Recommended and Necessary!"
I have the Sutherland Fille and the Sills' also
Adam Bonarek | 07/14/2003
(5 out of 5 stars)
"Both the Sutherland and the Sills Daughter of Regiment are excellent. I, myself much prefer the Sutherland because I love Sutherland's girlish smooth soprano(1966). It is glittering in timbre and her high notes and her coloratura are more dazzling than Sills. That's just a fact. Listen to both and you'll see. Also this "fille" has Pavarotti, who is my favorite tenor.
I find it hard to believe that in 4 years, this opera had not one negative review, now all of a sudden it's getting Sills' fans insulting the great art of Dame Joan Sutherland. That is uncalled for and silly. And as a Sills fan and Sutherland, I don't get the point. Why can't both divas be great?
I feel lucky that we have a choice to go out and buy either the Sutherland or the Sill's personification of Marie.
But for this opera, I feel that Sutherland and Pavarotti have outdone themself and pull off a real triumphant recording that is even better than Sills'. Sutherland's big advantage over Sills is most obvious for the more secure high notes, which this opera is famous for. And Pavarotti gives chills and thrills with his aria containing nine high C.
This is one of my favorite Sutherland and Pavarotti collaborations. Highly recommended."
Sutherland's miraculous high E's make other sopranos tame
Adam Bonarek | 07/04/2003
(5 out of 5 stars)
"This is the definitive recording of this underrated masterpiece. It has great music and jaw dropping, knock out singing by it's two famous principles. I'm talking about the King and Queen of Opera, Dame Joan Sutherland and Luciano Pavarotti.
Dame Joan's high D, and E are so powerful and full of ring that it alone should make all other sopranos including Sills take up pottery. And boy does she nail them in this "Fille". To supplement those celebrated stratospheric reaches into the sky, Dame Joan tosses in trill after trill, staccati after staccati, and runs after runs. Making it look all too easy. No wonder they call her the "Voice of the Century". My gosh, can this woman sing. And as Marie, it sounds like she's also having a lot of fun. Comedy is Dame Joan's forte, in my opinion. I know I'm having a blast every time I hear this.
Pavarotti equals Dame Joan's dynamic performance as Tonio. This is a very young Luciano. And freshly discovered by Dame Joan. He takes the monstrous aria containing 9 high Cs with such ease and control that one wonders if he's human. Most tenors are terrify of one high C. Yet he takes 9 in one aria...unbelievable. I think Luciano never sang this well again. Certainly his high notes will never be so magnificent.
This is the definitive "Fille". There are others, but they don't compare to this spectacular performance. If you are a true opera lover and a connoisseur of great singing, you have to have this recording.
Essential and necessary."