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1 (Donizetti: La Fille du régiment). Sop. Abandoned on a battlefield as a child, Marie was adopted as a ‘daughter’ by the 21st Regiment of Grenadiers. She falls in love with Tonio, who saves her when she nearly falls off a precipice. She is removed from the regiment by the Marquise de Birkenfeld, who claims to be her aunt. In the Marquise's château, Marie finds the ladylike pursuits she is expected to learn boring. Her aunt wants her to marry the Duchesse de Krakenthorp's son. The regiment arrives at the château, and the Marquise sees how much Tonio and Marie love each other. She then admits that Marie is her own illegitimate daughter and gives her consent to their marriage. Arias: Au bruit de la guerre j'ai reçu le jour (‘I first saw the light in the camp’); Chacun le sait, chacun le dit (‘Each man knows it, each man says it’). Created (1840) by Juliette Bourgeois.

2 (Berg: Wozzeck). Sop. Mother of Wozzeck's son. She is attracted by the Drum-major, making Wozzeck jealous. He kills her, throwing the knife he stabbed her with into a pond. Created (1925) by Sigrid Johanson.

3 (Marie/Marietta) (Korngold: Die tote Stadt). Sop. Marie is the dead wife of Paul. She resembles the dancer Marietta, whom he has met and taken home. Marietta is determined to meet the challenge of the dead wife and in a vision helps him exorcise Marie's ghost. Created (1920) by Anny Munchow (Hamburg) and Johanna Klemperer (Cologne, wife of Otto Klemperer, who conducted).

4 (Zimmermann: Die Soldaten). See Wesener, Marie.

5 (Poulenc: Les Dialogues des Carmélites). Mez. Mother Marie of the Incarnation. Assistant Prioress, to whom Mme de Croisy entrusts the care of Blanche. Created (1957) by Gigliola Frazzoni.

Subjects: Opera.

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