La Fille du régiment, or the “regiment’s daughter”, is what they call the young Marie, who was found when just a child on the battlefield by soldiers. The troops commit to raising the evidently abandoned girl themselves. A young man of course must soon enter the scene and stir a special interest in her, and the secret of her origins will soon also be revealed. In the best tradition of French opéra comique, with his team of librettists, Gaetano Donizetti created a piece that in a truly original way combines Alpine idyll, patriotic enthusiasm and romantic love with comic situations and heightened conflicts. While Donizetti’s piece was at times extremely popular, the “regiment’s daughter” faded from favour somewhat in the 20th century. It can now be rediscovered, from the famous overture right through to the both amusing and cryptic music, in its first new production at the Bayerische Staatsoper in almost ninety years.

La Fille du régiment

Max-Joseph-Platz

La Fille du régiment, or the “regiment’s daughter”, is what they call the young Marie, who was found when just a child on the battlefield by soldiers. The troops commit to raising the evidently abandoned girl themselves. A young man of course must soon enter the scene and stir a special interest in her, and the secret of her origins will soon also be revealed. In the best tradition of French opéra comique, with his team of librettists, Gaetano Donizetti created a piece that in a truly original way combines Alpine idyll, patriotic enthusiasm and romantic love with comic situations and heightened conflicts. While Donizetti’s piece was at times extremely popular, the “regiment’s daughter” faded from favour somewhat in the 20th century. It can now be rediscovered, from the famous overture right through to the both amusing and cryptic music, in its first new production at the Bayerische Staatsoper in almost ninety years

It’s a rambunctious tale: an old curmudgeon is set on marrying his own ward of court with a view to snapping up her considerable inheritance. He leaves no stone unturned in his efforts to keep the fair Rosina cloistered from the outside world and thus from any potential young suitors. A pity, then, that Count Almaviva has fallen head over heels for her. Assisted by Figaro, an enterprising barber, he plans to outwit the old man, win over Rosina – and ensure that it’s love that attracts her to him rather than his rank and wealth. Not an easy job for Figaro, seeing as the opposite camp is scheming with equal tenacity … Love wins out in the end, and it turns out that all precautions were useless!

The Barber of Seville

Deutsche Oper Berlin

Following on from Puccini’s LA RONDINE and Johann Strauss’s DIE FLEDERMAUS, Rolando Villazón returns to the Deutsche Oper Berlin to tackle one of the great comedies of the bel canto genre and demonstrate that he can do humour. L’ITALIANA IN ALGERI remains one of the most popular works by Gioacchino Rossini, who is said to have dashed the piece off in less than a month and was a tender 21 years of age when the opera premiered at Venice’s Teatro San Benedetto in 1813. It’s a testament to Rossini’s boldness that he chose material that had been set to music only a few years before by his more experienced colleague Luigi Mosca. His audacity paid off, with the subsequent triumph bringing him immediate fame across Italy and widespread popularity soon afterwards throughout Europe.

L’Italiana in Algeri

No other work reflects Puccini's search for new forms of musical theatre like his three-act trilogy IL TRITTICO, which premiered in 1918. In three pieces with different colours and temperatures, he once again brought to the stage what Italian opera could be in those years. In a condensed version, the second and third parts of the triptych now return to the stage of the Deutsche Oper in Karabulut's colourful production: SUOR ANGELICA, a piece with an all-female cast, is unique in opera history and revolves around questions of life and death and the possibilities in between. In her feminist interpretation, Karabulut explores the possibilities of (female) self-determination within a closed system. GIANNI SCHICCHI, on the other hand, follows the tradition of commedia dell'arte, placing humans at the centre as players and greedy deceivers. With her keen sense of timing and a captivating ensemble, Karabulut reveals the bizarre depths of a hypocritical family gathering once again around the deathbed of their patriarch.

Suor Angelica / Gianni Schicchi

The story of Cinderella, her evil stepsisters, her malign stepfather and her eternal quest for happiness. It all begins with hassles and endless coloratura. But then: Prince Charming arrives! The legendary, effervescent production by Jean-Pierre Ponnelle is today a chapter of operatic history: a priceless legacy.

Misha Kiria

Events

Upcoming events

Dec 22, 2025 - Mar 27, 2026

The Barber of Seville · Deutsche Oper Berlin

Mar 8 - Apr 2, 2026

L’Italiana in Algeri · Deutsche Oper Berlin

5 - 17 Apr, 2026

Suor Angelica / Gianni Schicchi · Deutsche Oper Berlin

9 - 11 Jul, 2026

La Cenerentola · Bayerische Staatsoper

Past events

22 - 28 Nov, 2025

La Fille du régiment · Bayerische Staatsoper

Dec 22, 2024 - Jul 1, 2025

La Fille du régiment · Bayerische Staatsoper

Future and recently performed repertoire

Gianni Schicchi in Gianni Schicchi by Puccini

Deutsche Oper Berlin

Taddeo in L'italiana in Algeri by Rossini

Deutsche Oper Berlin

Don Magnifico in La Cenerentola by Rossini

Bayerische Staatsoper

Bartolo in The Barber of Seville by Rossini

Deutsche Oper Berlin

Sulpice in La fille du régiment by Donizetti

Bayerische Staatsoper

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