The Royal Opera
Jakub Hrůša
Music Director
Oliver Mears
Director of Opera
La Fille du régiment
Tuesday 7 July 2026 7.30pm
The 36th performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.
Approximate Timings
The performance lasts approximately 2 hours 45 minutes, including one interval
Act I
80 minutes
Interval
30 minutes
Act II
55 minutes
Co-production with Vienna State Opera and Metropolitan Opera, New York
Credits
- Music
Gaetano Donizetti
- Libretto
Jules-Henri Vernoy de Saint-Georges
Jean-François Alfred Bayard
Jules-Henri Vernoy de Saint-Georges and Jean-François-Alfred Bayard
- Conductor
Yves Abel
- Director and Costume Designer
Laurent Pelly
- Revival Director
Dan Dooner
- Dialogue Adaptation
Agathe Mélinand
- Set designer
Chantal Thomas
- Lighting designer
Joël Adam
- Choreographer
Laura Scozzi
- Revival Choreographer
Karine Girard
Cast
- Marie
Sara Blanch
- Tonio
Juan Diego Flórez
- Sulpice Pingot
Paolo Bordogna
- La Marquise de Berkenfield
Sonia Ganassi
- Hortensius
Donald Maxwell
- La Duchesse de Crakentorp
Tamsin Greig
- Corporal
Eugene Dillon-Hooper
- Peasant
Luke Price
- Actors
Jean-Pierre Blanchard
Dom Blackwood
Charles Blyth
Barry Callan
Peter Cooney
Chris Edgerley
Fabrizio Lloris
Laurent Maria
Martin McGlade
Eduardo Nunez
Joe Rain
Daniel Swan
Peter Taylor
Bao Tieu
Chorus and Orchestra
- Chorus
Royal Opera Chorus
- Chorus Director
William Spaulding
- Orchestra
Orchestra of the Royal Opera House
- Associate Concert Master
Peter Schulmeister
Production credits
- Music preparation
Charlotte Corderoy
Patrick Milne
Susanna Stranders
- Assistant Director
Franciska Éry
- Language Coach
Sonja Nerdrum
The Royal Opera
- Patron
HM The King
- Music Director
Jakub Hrůša
- Director of Opera
Oliver Mears
- Director of Casting
Peter Mario Katona
- Associate Director
Netia Jones
- Administrative Director
Cormac Simms
Synopsis
Marie was found as a baby on a battlefield, and raised by the 21st Regiment as their ‘daughter’. Her foster-father Sulpice has decreed she must marry a soldier from the Regiment. However, Marie has fallen in love with the Tyrolean peasant Tonio. When she tells Tonio about Sulpice’s decree, he determines to do whatever it takes to become Marie’s husband.
ACT I
The Marquise de Berkenfield and her steward Hortensius have been caught in the conflict between French and Austrians. Sulpice recognizes the Marquise’s name from papers found near the infant Marie on the battlefield. The Marquise claims to be Marie’s aunt. She determines to take Marie away with her to give her a proper education. Marie has to leave behind her Regiment – and Tonio, who has enlisted in order to marry her.
INTERVAL
ACT II
The Marquise plans to marry Marie to Duke Scipio of Crakentorp. Marie is not happy about this, or about her aunt’s attempts to train her to be a lady. She longs for the Regiment. To her joy, they rush in to see her.
Tonio pleads with the Marquise to be allowed to marry Marie. When she refuses, he reveals that he knows that Marie is the Marquise’s illegitimate daughter. The Marquise and the formidable Duchesse de Crakentorp try to force Marie to sign her marriage contract.
When Marie learns that the Marquise is her mother she prepares to sign the papers, but is stopped by the Regiment, who come crashing in, led by Tonio. The Marquise decides she cannot make her daughter unhappy and gives Marie permission to marry Tonio after all. Everyone celebrates.
Guidance
Suitable for age 5+
Children under the age five are not permitted into our theatres. Children over age five must have their own ticket and sit next to an accompanying adult.
Language
Sung in French with English surtitles, which are displayed on screens above the stage and around the auditorium.
Generous support from
Exceptional philanthropic support from
Royal Ballet and Opera Principal The Julia Rausing Trust
Generous philanthropic support from
Royal Ballet and Opera Friends
Production generously supported by
Rolex, Principal Partner, The Royal Opera
Further information
Digital Cast Sheets
We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria.
Guidelines
Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.
Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.
Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.
Only bottled water and ice cream purchased from the premises can be taken into the auditorium.
If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.
Smoking and vaping are not permitted anywhere on the premises.
The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.
Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.
Support Us
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For people, not profit.
rbo.org.uk/donate
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