Ni que decir; Joanine hace toda una verdadera creación inigualable de la Marie!!; como si fuera escrita para ella; que manera de cantar por Dios; en 1968 en la cúspide de los años "vocalmente angeliacal"; rol trágico-cómico de "happy end" que marca el antes y depués de Joan Sutherland; que decir del magistral binomio Sutherland-Pavarotti, el más perfecto y eficaz en la historia de la ópera!; Joanine muestra una caraterización simplemente "perfecta" vocal e histriónicamente; su voz en la mejor forma, bien temperada, sin excesos, de forma, cuerpo y color perfectos; el maravilloso Tonio de Pavarotti, con una magna interpretación sin mancha y elocuente, con una voz técnicamente corregida 2 años atrás por la propia Joan, bien impostada, bien engolada, con dominio del fiatto y del registro sobreagudo, con un legato "Sutherliano"; la comicidad de Sinclair y Malas cual ninguna, complementos sin igual, cómicos a rabiar, pero vocalmente impecables, con el dominio del reino de los "graves"; momentos cúlmen desde la entrada de Marie, el hermosísimo dúo de Tonio y Marie, la espléndida aria y cabaletta de la despedida de Marie al final del primer acto, la incólume y extraordinaria escena de la clase de canto y buenos modales en un terzetone Malas, Sinclair y Sutherland por demás único, etc, etc; en fin; una obra que es oro molido, necesaria y obligada para cualquier amante de la lírica mundial; ¡de haber podido verlos en vivo!

In one recent review here by 'Kid' - 'Joan Sutherland sings the role with more beauty of tone in abundance, but to the death of any real dramatic commitment.'
This is a complete version of La Fille du Regiment. Arias of the same opera performed on other occasions by Sutherland and Pavarotti are available in other CDs - in recital albums.
In an even earlier recording (by London also), Pavarotti turned up a even more spectacular 'Ah Mes', and in her own box set, 'The Art of Joan Sutherland', Sutherland did a even better Marie, though in only one aria.
I share Kid's view that the drama here is less vividly captured than in, say, the DVD version of Ciofi and Florez (2005).
Somehow, Sutherland, and also Te Kanawa and Mattila, and more recently Netrebko, are those 'clear' voices that tend rather easily to lapse into uncommitted performances(I think I will be hacked by their respective fans for this comment, but it is my gut feeling nonetheless).
Strangely so, since all of them (or nearly all) are considered to be capable of producing great dramatic effects by their voices (sometimes they are termed 'big-voiced'). I think it is firstly a matter of emotional commitment, and secondly the ability to shade one's voice to bring out different moods in a single song or aria. Sutherland, in her early career, possessed one of the most envied soprano voices. It was so beautiful that listening to it per se will make you want to cry. It was girlish, it was silvery, it was nimble, it was expressive...Not so after she had her nasal operation. Thereafter, her singing was largely redeemed by her outstanding technique, but that great voice was simply no longer there.
Marie calls for a more girlish voice. The Sutherland here sings in full glory, but without that vital girlishness. Tonio here sounds some what less 'energetic' in this 1968 Kingway Hall recording than the earlier one made in 1967. Had Pavarotti been singing this Tonio too much during the 12 months previous to this recording?
The set contains a couple of valuable historic photos of Pav without a beard. Quite a handsome figure, by all standards!

With the lighthearted music of Donizetti's LA FILLE DU REGIMENT, you'd hardly know that it takes place in the midst of a war and tells the story of a young woman abandoned at birth and left to the benevolence of an army regiment, all the while being in close proximity to the mother who abandoned her. This opera if anything should be a tragedy, or at least a drama. Instead we have one of opera's happiest endings and an operas that is just plain magical to hear. It certainly contains some of Donizetti's best music, or at least some of his most enjoyable melodies.

Chances are LA FILLE DU REGIMENT would be performed on stage if there were casts capable of the arduous score. This set has what many consider the finest cast assembled for the opera. The lead tenor and soprano roles certainly require agile voices able to reach some high notes. The tenor aria Tonio's "Ah Mes Amis, Quel Jor de Fete" has to be one of operas most taxing works and very few perform the work as written. The soprano role of Marie is just as challenging. This set has a pair that could arguably be the best performers who have ever attempted the roles of Tonio and Marie: Luciano Pavarotti and Joan Sutherland. This recording, and early one for Pavarotti, shows us just how nimble his voice was in the early years of his career. It's a role he didn't perform when his voice got a bit darker, but when he had the ability, his interpretation of Tonio was magical. Sutherland's Marie is likewise one of her best roles and she's more than at home. Monica Sinclair performs the role of the Marquise. While I would not consider Sinclair's performance exquisite, her voice matches the role. As is so often the case in Sutherland/Pavarotti recordings, conductor Richard Bonynge pulls the various cast members, chorus, and orchestra together for an overall performance that is unsurpassed.

My guess is that anyone unfamiliar with this opera who purchases this recording will fall in love with it. I think it happens to anyone who hears this opera beginning with its sparkling overture to all the way to its ending. Fans of Sutherland, Pavarotti, or both will be reminded of why they love these performers so. French opera lovers will enjoy it because even though it's by an Italian composer, it was written for a French audience and the libretto was originally French, but it has all that makes Italian Bel canto opera such an experience. In short, it's an opera that has been loved by many for good reason and will continue to be a favorite for years to come.

I finally got around to buying this SUPERB recording a few weeks ago, and it has not been far from my CD player ever since. This has to be one of the most utterly delightful operas ever written. Sutherland is in top form here, singing a vivacious and lively Marie. In this recording, we get the chance to listen to her effortlessly take off in flights of coloratura and belt out full throated C's and D's. We also get to hear that legendary Sutherland trill several times as well. All in all, a THOROUGHLY enjoyable Marie. Pavarotti, near the beginning of his career, is nothing less than astounding. He turns every musical phrase wonderfully, and gets to show off those formidable top notes of his. By the time he gets through with his 9 high C's, I feel like standing up and applauding. Sinclair handles the role of the blue-blooded Marquise very well. The role of the marquise doesn't go too high, but it does go quite low (to a low E-flat I believe). Malas is very believable as Sulpice, portraying a rough, rugged, "salty" old army captain. Orhcestrally, the recording is flawless (at least in my opinion). Richard Bonynge's conducting, as most always, is beyond reproach. This recording always makes me smile every time I listen to it.

This is a classic performance. Sutherland is at the top of her form. A very young Pavarotti shows why he was considerd the world's greatest tenor. A must have.