Laurent Pelly’s vibrant production of Donizetti’s ‘La Fille du Régiment’ at the Metropolitan Opera immediately captivates the audience with its clever set design by Chantal Thomas. The stage is dominated by two distinctive mountain ranges, setting a whimsical tone for the opera.
One mountain is ingeniously crafted from massive military maps; the other comprises towering heaps of regimental laundry that Marie, the spirited ‘daughter of the regiment’ and adopted mascot, must heroically tackle. Yet, an even greater peak awaits in the musical landscape: Tonio’s aria ‘Ah! mes amis.’ This challenging piece, with its legendary nine high C’s, is often hailed as the Mount Everest for tenors, promising a thrilling vocal ascent.
On a memorable Thursday performance, the brilliant Lawrence Brownlee flawlessly conquered this vocal challenge, delivering the high notes with radiant confidence and remarkable clarity. To the delight of a roaring ovation, he charmingly repeated the demanding aria, much to the audience’s ecstatic approval.
This production marks the Met’s second bel canto triumph this season, following the earlier success of Bellini’s ‘La Sonnambula.’ With stellar casts like Nadine Sierra and Xabier Anduaga in ‘Sonnambula,’ and Lawrence Brownlee alongside soprano Erin Morley in ‘Fille,’ the Met continues to showcase performers who bring both exceptional vocal artistry and compelling dramatic presence to the stage.
Erin Morley, in her 16th Met role debut as Marie, delivers a captivating performance. While known for her elegant portrayals like Pamina in Mozart’s ‘The Magic Flute’ and Sophie in Strauss’s ‘Der Rosenkavalier,’ she brilliantly embodies the mischievous charm of an orphan raised by affectionate soldiers. Her Marie is a force of nature, even ironing and folding laundry with synchronized, almost choreographic, movements. Morley seamlessly weaves Donizetti’s complex vocal pyrotechnics with the opera’s delightful physical comedy, making every moment sparkle.
Morley’s vocal prowess lies not merely in raw power but in a compelling sincerity and poised delivery that resonates clearly, even over the full orchestral accompaniment. During the poignant aria ‘Il faut partir,’ as Marie faces separation from her beloved military family by her newly revealed mother, Morley’s voice blossoms with profound, richer tones. Each heartfelt ‘adieu’ is rendered with a nuanced emotional depth, evoking a sense of lingering reluctance and delaying an inevitable, sorrowful departure.
Brownlee’s performance impresses equally in the tender, flowing legato of lyrical pieces like ‘Pour me rapprocher de Marie’ and in his electrifying, athletic showstoppers. Having recently released a duet album featuring the opera’s ‘Quoi! Vous m’aimez?’, Brownlee and Morley are clearly seasoned artistic partners. Although the vibrant staging sometimes presented coordination challenges during the Thursday performance, their undeniable chemistry and musical harmony consistently shone through.
Peter Kalman, the Hungarian bass-baritone, delivered an exceptional performance as Sergeant Sulpice, proving to be a brilliant comic counterpoint. Susan Graham, a mezzo-soprano, offered a compelling portrayal of the Marquise of Berkenfield, masterfully conveying her internal conflict between societal expectations and deep maternal affection, despite the role’s lower vocal demands sometimes challenging her range.
While there were fleeting moments of slight dissonance between Giacomo Sagripanti’s orchestra and the chorus, whose elaborate choreography occasionally complicated their synchronization with the pit, this very imbalance offered a captivating departure from conventional opera. It was a refreshing instance where the theatrical spectacle took precedence, enriching the overall experience.
Making her Met debut, actress Sandra Oh was a delightfully imperious Duchess of Krakenthorp, injecting her dialogue with witty ad-libs and wielding her elaborate bustle with commanding flair. Her spoken role culminates in an unforgettable, indignant screech, powerfully protesting Marie and Tonio’s joyful union. While a dramatic departure from bel canto, this captivating detail, along with many others, contributed to the brilliant polish of Donizetti’s comedic masterpiece, making it truly sparkle beyond its vocal performances.
La Fille du Régiment
Catch this enchanting production through November 12 at the Metropolitan Opera in Manhattan.