On Saturday, November 16, I attended La Fille du Régiment at the Opéra de Paris, marking the 10th performance in this marathon run of Donizetti’s classic. If there’s one production of this opera that needs no introduction, it’s Laurent Pelly’s iconic staging. Whether through the beloved DVD with Natalie Dessay and Juan Diego Flórez or its countless revivals worldwide, this version has become the standard. And how could it not? It’s brimming with energy, humor, and charm—a comedic gem where, like those American sitcom VHS tapes from yesteryear, you’re guaranteed “a laugh every two minutes.”
The Golden Trio
Last night’s magic was brought to life by a spectacular trio: French soprano Julie Fuchs, American tenor Larry Brownlee, and Belgian baritone Lionel Lhote. What a combination, and what a joy to witness!
Let’s start with Julie Fuchs, whose radiant Marie is a marvel. Her comedic timing, expressive acting, and crystalline soprano make her utterly captivating. She doesn’t just sing the role; she embodies it with every smile, gesture, and perfectly delivered comedic beat. You’d want her Marie as your best friend, your girlfriend, or just someone who lights up your life.
While Fuchs charmed, Larry Brownlee thrilled. Anyone who knows me knows my devotion to this tenor and his unmatched Bel Canto artistry. Last night, he delivered yet another masterclass. His “Ah! mes amis”—complete with those nine infamous high Cs—brought the house down, and his emotional sincerity in “Pour mon âme” made hearts soar. Few tenors today can match his vocal agility, effortless tone, and sheer charisma. And thanks to a kind gesture from his agency PrimaFila and their wonderful representative Constantin, I had the privilege of a quick interview with him before the show—a moment I’ll cherish forever.
Lionel Lhote rounded out this stellar trio with his delightful portrayal of Sulpice. The last time I saw Lhote was in a serious role in Madama Butterfly at Aix-en-Provence, but here, his comedic chops took center stage. Like a Jim Carrey of the opera world, he effortlessly moved between humor and heart, serving as the warm, paternal figure who bridges the romance between Marie and Tonio.
A Legend Returns
And then there was Dame Felicity Lott. At nearly 80 years old, her cameo as the Duchess of Crakentorp was a gift to the audience. Her presence on stage was both nostalgic and deeply moving, a tribute to a lifetime of artistry.
The Musical Backbone
Evelino Pidò conducted the Orchestre de l’Opéra national de Paris with a familiar hand, having previously led memorable productions like La Cenerentola. Last night, his tempos and dynamics mostly hit the mark, although occasional timing issues with the chorus disrupted the otherwise lively flow. Special praise must go to the string section—particularly the violins and cellos—which delivered warmth and precision throughout.
A February Reunion Awaits
As the curtain fell, I couldn’t help but feel immense gratitude for this joyous evening. It was a reminder of why we love opera—not just for its grandeur but for its ability to lift spirits and touch hearts. And knowing I’ll return to Paris in February for I Puritani with Lisette Oropesa and (you guessed it) Larry Brownlee only heightens the anticipation. In that role, I believe we’ll see Brownlee reach even greater heights, showcasing his unparalleled artistry.
CASTING
Julie Fuchs – Marie
Larry Brownlee – Tonio
Lionel Lhote – Sulpice
Susan Graham – La Marquise de Berkenfield
Florent Mbia – Hortensius
Felicity Lott – La Duchesse de Crakentorp
Cyrille Lovighi – Un Paysan
Mikhail Silantev – Le Caporal
