Act I. A passage in the Tyrolese mountains. On the right is a cottage,

on the left the first houses of a village. Heights in the background. Tyrolese peasants are grouped on rising ground, as if on the lookout. Their wives and daughters kneel before a shrine to the Virgin. The _Marquise de Birkenfeld_ is seated on a rustic bench. Beside her stands _Hortensio_, her steward. They have been caught in the eddy of the war. An engagement is in progress not far away. The Tyrolese chorus sings valiantly, the women pray; the French are victorious. And why not? Is not the unbeaten Twenty-first Regiment of Grenadiers among them?

One of them is coming now, _Sergeant Sulpice_, an old grumbler. After him comes a pretty girl in uniform, a vivandière--_Marie_, the daughter of the regiment, found on the field of battle when she was a mere child, and brought up by a whole regiment of fathers, the spoiled darling of the grenadiers. She sings "Apparvi alla luce, sul campo guerrier"

[Music:

Apparvi alla luce, Sul campo guerrier,]

(I first saw the light in the camp of my brave grenadiers), which ends in a brilliant cadenza.

[Music]

This indicates why the revival of this opera attends the appearance upon the horizon of a coloratura star. It is typical of the requirements of the character.

The _Sergeant_ puts her through a drill. Then they have a "Rataplan" duet, which may be called a repetition of _Marie's_ solo with an accompaniment of rataplans. The drum is the music that is sweetest to her; and, indeed, _Marie's_ manipulation of the drumsticks is a feature of the rôle.

But for a few days _Marie_ has not been as cheerful as formerly. She has been seen with a young man. _Sulpice_ asks her about him. She tells the _Sergeant_ that this young man saved her life by preventing her from falling over a precipice. That, however, establishes no claim upon her. The regiment has decreed that only a grenadier shall have her for wife.

There is a commotion. Some soldiers drag in _Tonio_, whom they charge as a spy. They have discovered him sneaking about the camp. His would have been short shrift had not _Marie_ pleaded for him, for he is none other than her rescuer. As he wants to remain near _Marie_, he decides to become a soldier. The grenadiers celebrate his decision by drinking to his health and calling upon _Marie_ to sing the "Song of the Regiment," a dapper tune, which is about the best-known number of the score: "Ciascun lo dice, ciascun lo sà! È il Reggimento, ch'egual non ha."

(All men confess it, Go where we will! Our gallant Regiment Is welcome still.)

[Music:

Ciascun lo dice, Ciascun lo sà! È il Reggimento Ch'egual non ha.]

There is then a love scene for _Marie_ and _Tonio_, followed by a duet for them, "A voti così ardente" [Transcriber's Note: should be 'A confession sì ardente'] (No longer can I doubt it).

Afterwards the grenadiers sing a "Rataplan" chorus.

[Music: Rataplan, rataplan, rataplan,]

But, alas, the _Sergeant_ has been informed that the _Marquise de Birkenfeld_ desires safe conduct. Birkenfeld! That is the very name to which were addressed certain papers found on _Marie_ when she was discovered as a baby on the battlefield. The _Marquise_ examines the papers, declares that _Marie_ is her niece and henceforth must live with her in the castle. Poor _Tonio_ has become a grenadier in vain. The regiment cannot help him. It can only lament with him that their daughter is lost to them. She herself is none too happy. She sings a sad farewell, "Convien partir! o miei compagni d'arme" (Farewell, a long farewell, my dear companions).