OPERA REVIEW : Bonynge Conducts a Revival of ‘Fille du Regiment’ in San Diego

Beni Montresor’s storybook production of Donizetti’s “La Fille du Regiment,” which originated in the early 1970s, has returned to San Diego, where memories of Beverly Sills’ appearance as Marie, in performances staged by Lotfi Mansouri, still enliven some operatic conversations.

Seventeen years later (to the month), a new generation of opera-goers can now savor Montresor’s enchanting sets and costumes, executed in irresistible greeting-card colors and exuding a joyous aura of fantasy. And a new generation of singers and producers can utilize these charms for their own glory.

Glories there were at the opening of the revived production by San Diego Opera on Saturday night in Civic Theatre. Conductor Richard Bonynge, fresh from leading Poulenc’s “Dialogues des Carmelites” here last month, again displayed stylistic pertinence, firm control over musical continuity and transparent textures, plus a wonderful ear for details. And he has inspired his singing actors/comedians in strong performances.

Nova Thomas is no longer a new name to Southern California opera-goers. A protegee of Bonynge’s, she appeared as Adalgisa to Dame Joan Sutherland’s Norma last season in Costa Mesa, was one of two replacements as Violetta in “La Traviata” at Opera Pacific in January and sang Blanche in “Carmelites” here last month.

In her case, versatility is not yet a curse. Indeed, her scamp of a Marie could not have been predicted from any of those earlier assignments. Yet it worked. Thomas is no natural comedian, but her daughter of the regiment has pertness, buoyancy, personal charm and abundant high notes, which she hits accurately and without fear.

More important, the soprano from North Carolina sings beautifully--if not invariably in tune. Her “Il faut partir,” as well as her Act II arias on Saturday proved splendidly lyric and melting--handsome tone meshing with expressive phrasing and poignant acting. She deserves all her opportunities.

In the resourceful, sensible and non-cliched staging scheme of Lou Galterio, Thomas has been surrounded by solid colleagues.

Heather Begg’s more than two-dimensional Marquise of Berkenfeld proved again an expert comedian and a charismatic stage presence, as well as, at this point in her long career, an inconsistent vocalist.

As Sulpice, John Del Carlo sang lustily and with healthy point, and easily dominated those scenes populated by “les terribles soldats.” Though his top notes are neither pretty nor easy, Paul Hartfield brought a pleasant middle voice, histrionic good humor and a manly bearing to the musical and comedic challenges suffered by Tonio.

In the pit, the players of the opera orchestra gave a smooth, mellow performance--especially in the rousing Overture--not the kind one usually expects on an opening night. On the stage, the large chorus--including a regiment of 26 men--sounded smaller and weaker than they looked.