Interview with 'Fille' Director Jolly Stewart

Operatic Saint Louis interviewed Union Avenue Opera's Principal Stage Director Jolly Stewart about the company's upcoming production of La fille du Régiment. Stewart recently retired from the performance faculty of Washington University after twenty years of teaching. She founded the University's opera program and celebrated her last school year with a production of Die Fledermaus in March. La fille du Régiment marks her thirteenth production with the company.

Operatic Saint Louis: In preparing this opera, what qualities of the score and libretto intrigued you?

Jolly Stewart: The music is delightful. What a sing for both the Marie and the Tonio. Rip snorting difficult and exciting arias, which are sung with great beauty and style by our two singers, Erica Cochran and Gregory Schmidt. One hears bel canto at its best in this opera.

As far as the libretto is concerned, we tried to get the essence of the story told, allowing the wit and charm of the characters to blossom as much as possible.

OSL: This production will be your first Donizetti opera at UAO. How does the experience compare with staging a Mozart, Strauss or Puccini work?

JS: As a director, the thing that draws me into a piece the most is examining the music and text for the "human-ness" in each character. In the music of Mozart, Strauss, and Puccini we hear and see some of the greatest painters and illustrators of character.

In La fille du Regiment we observe great warmth in the relationship between Marie and Sulpice, who is more or less the "head dad." David Dillard, singing Sulpice, your readers might be interested to know, jumped in at the last minute for a singer who canceled. David has been a most fortuitous addition to the cast.

With numerous arias, duets and trios, Marie exhibits as many feelings and emotions as any of the heroines of the above mentioned composers. We also are able to observe the deep love the whole regiment has for Marie. The Marquise is constantly chased by her past and present demons and finally is able to conquer them by a stroke of great love and generosity. Tonio is also exuberantly defined by Donizetti in the famous "high C aria". Then later in the Romance, we see him at his most vulnerable and appealing, as he tries to win the Marquise's approval.

Staging a full Donizetti opera has been an unexpected joy and pleasure.

OSL: Donizetti's score certainly does not want for engaging, sprightly arias and ensembles. Among them, do you have any favorites in particular? What should audiences look out for?

JS: Goodness! Fille is packed with jewels. For exquisite lyricism I would choose Marie's "Il faut partir". For pyrotechnics you can't beat "A mes amis" (the famous tenor aria) and also surprisingly Marie's little aria within the trio at the top of Act II. For me the most delightful piece is the trio Marie, Tonio and Sulpice sing in Act II. Absolutely delicious.

OSL: Have any arias or ensembles been a particular joy or challenge to stage?

JS: The aforementioned trio was a challenge because there is a lot of stage business or choreography. I tried to simplify it by almost always doing the same gesture on the same little word phrases. It is intricate and tricky, but so much fun.

OSL: The success of La fille du Régiment can rise or fall on the strengths of its leading soprano and tenor, given the precedents set by Joan Sutherland, Beverly Sills, Natalie Dessay, Juan Diego Florez and Luciano Pavarotti. What qualities did UAO look for in finding the best possible Marie and Tonio?

JS: Stamina is certainly an important quality, but so much more. In a house the size of Union Avenue Opera, the audience is a real participant. Because of that, we look for people who not only can sing the roles extremely well, but who are also believable visually. Erica Cochran sang with Union Avenue Opera a few years ago in the Puccini Double Bill, so we know her work very well. She is a wonderful singer, extremely musical, a very good actress and has the perfect personality for a "close up" Marie. Greg Schmidt sang a great audition for us in New York and also came highly recommended by Kostis Protopapas, our guest conductor.

OSL: Union Avenue Opera will be presenting Fille in its original French with a libretto driven partially by spoken dialogue. Which version of the Saint-Georges & Bayard dialogue will be featured in this production?

JS: With the expert help of a close friend, Bruce Donnell, who has staged this opera many many times at the Met, San Francisco and numerous other houses, the dialogue has been adapted from several different versions. Kostis and I did some more adjusting as we got into the dialogue rehearsals.

OSL: Dialogue in a foreign-language opera can prove to be more difficult than musical passages, where the inflection is given by the composer's setting of words. How have your singers adapted to the demands of the French?

JS: It has been a challenge for us all, but I think, a good one. Kostis has been immeasurably helpful. We have all learned from him.

OSL: In coordinating the design and look of this production and its locales/era, what sort of inspirations have you had with scenic designer Patrick Huber and costume designer Lyn DeMoss?

JS: I was interested in creating a cartoon look for the sets, cut outs, etc. Then I wanted to throw onto that a very real and touching story.

Patrick Huber, as always, immediately came up with ideas which were exactly what I had imagined. We talked about the artists Paul Klee and Edward Gorey as a starting place. I think mostly for the whimsical feeling I was looking for. I had not worked with Lyn DeMoss before and have found her to have a great and beautiful imagination.

We decided to do the piece not too long after the start of the 19th Century, because of the conflict at that time in Tyrol between the French and an Austrian rebel, Andreas Hofer.

OSL: Audiences will be treated to your cameo in the brief but hilarious role of La Duchesse de Krakenthorp in Act Two. How does it feel to be back onstage after years of being on the other side of the footlights?

JS: Now that's a loaded question! I am looking forward to it. With the help of Sarah Rugo, my excellent Stage Manager and Assistant, I think I can leave the director's seat for a few minutes.

Operatic Saint Louis: What would your "sales pitch" be for anyone unfamiliar with or unsure about attending La fille du Régiment?

Jolly Stewart: I can give you a really good one! I had never seen a live version of the opera before. It would not have been on the top ten wish list of operas I have yet to stage, but I have fallen head over heels in love with it. Beautiful music, very touching story, singers you have to love, conducted by a wonderfully musical and exacting conductor.

La fille du Régiment runs July 30, 31, August 7 & 8(M). Performances begin at 8pm, except 3pm matinee on Sunday, the 8th. Sung in French with projected English supertitles. Venue: Union Avenue Christian Church located at 733 Union Blvd in St. Louis. To purchase tickets or learn more about this production, please visit the Union Avenue Opera Website or call 314.361.2881