umorous
situations, which afford capital opportunities for comedy acting. The
scene is laid in the Tyrol during its occupation by the French. Marie,
the heroine, and the vivandiere of the Twenty-first regiment of
Napoleon's army, was adopted as the Daughter of the Regiment, because
she was found on the field, after a battle, by Sergeant Sulpice. On
her person was affixed a letter written by her father to the
Marchioness of Berkenfeld, which has been carefully preserved by the
Sergeant. At the beginning of the opera the little waif has grown into
a sprightly young woman, full of mischief and spirit, as is shown by
her opening song ("The Camp was my Birthplace"), in which she tells
the story of her life, and by the duet with Sulpice, known the world
over as "The Rataplan," which is of a very animated, stirring, and
martial character, to the accompaniment of rattling drums and sonorous
brasses. She is the special admiration of Tony, a Tyrolean peasant,
who has saved her from falling over a precipice. The soldiers of the
regiment are profuse in their gratitude to her deliverer, and
celebrate her rescue with ample potations, during which Marie sings
the Song of the Regiment ("All Men confess it"). Poor Tony, however,
who was found strolling in the camp, is placed under arrest as a spy,
though he succeeds in obtaining an interview with Marie and declares
his love for her. The declaration is followed by a charming duet ("No
longer can I doubt it"). Tony manages to clear up his record, and the
soldiers decide that he may have Marie's hand if he will consent to
join them. He blithely accepts the condition and dons the French
cockade. Everything seems auspicious, when suddenly the Marchioness of
Berkenfeld appears and dashes Tony's hopes to the ground. The
Sergeant, as in honor bound, delivers the letter he has been
preserving. After reading it she claims Marie as her niece, and
demands that the regiment shall give up its daughter, while Tony is
incontinently dismissed as an unsuitable person to be connected in any
capacity with her noble family. Marie sings a touching adieu to her
comrades ("Farewell, a long Farewell"), and the act closes with
smothered imprecations on the Marchioness by the soldiers, and
protestations of undying love by Tony.

The second act opens in the castle of Berkenfeld, where Marie is duly
installed, though she does not take very kindly to her change of
surroundings. The old Sergeant is with her. Grand c