The Met’s bet on a celebrity cameo paid off double: they earned new audiences, and I “discovered” a star. 

 

Somehow I ended up working on my night off. It was a casual weeknight outing to the opera, so I didn’t bother bringing my notebook or wearing my signature Black star. My dear friend, Eunice, heard that Korean-Canadian television star Sandra Oh would be making her Met Opera debut and invited me to join. I agreed for two reasons. First, it was a comedy. (I draw a firm line at tragic operas, you haven’t really had your heart broken until you’ve seen someone sing themselves to death.) Second, I couldn’t picture Ms. Oh singing in the chorus, let alone hitting a high note. I figured it would have to be seen to be believed. On the last night of the show’s run, Eunice and I were there — in a small, partial view box in the Dress Circle. The view wasn’t a problem, but the seating was a tight squeeze. (Note to self: boxes above the Grand Tier ring do not have private coat racks.) 

 

 

As it turned out, I wouldn’t leave with any new sentiments about Ms. Oh since her role was strictly a comedic cameo. She graced the stage for less than 20 minutes, truly the blink of an eye in a production that nears 3 hours. But, my eyes did find a certain tenor, Lawrence Brownlee, who sang the male lead Tonio in the show. Judging from the applause he garnered from his first moment on stage, as well as the thunderous demand for an encore after his solo “Ah, mes amis…Pour mon âme”, I am the last to know about Mr. Brownlee’s talent. At every opportunity, the audience showered him with praise at volumes significantly higher than anyone else on stage, even the titular la fille.

 

La Fille du Régiment, which is entirely in French, translates to The Daughter of the Regiment. The daughter in question is Marie (soprano Erin Morley) who, as a swaddled infant, was left with a French military unit. She was raised as ‘one of the guys’ — she grunts and scratches — and tasked with women’s work — cooking potato-forward meals and laundering the men’s skivvies. Dingy white undershirts and long johns are strung across the 31-meter width of the Met’s stage, but it’s unclear if the garments remain off-white due to the inferior cleaning technology available in the 1910’s or if it’s because she’s distracted by romance. There’s a village boy nearby who’s in love with Marie and her diamond-in-the-rough charm, which is putting it kindly. 

 

Tonio would do anything for her: abandon his political beliefs, join the military, even defect from his regiment. In fact, he does all three. (Sorry if I’ve spoilt it for you but it premiered almost 200 years ago in 1840.) Thankfully, the presence of a Black man on the French countryside, and his participation in an interracial relationship do not matter here. Mr. Brownlee’s delightful performance combines the bumbling affect of a small-town boy, the tail-chasing demeanor of a lovesick puppy, and absolute mastery of voice as instrument. His notes pour onto the audience like a semi-sweet ganache, sticking to the heart, and coating the scene with palpable emotion. He had the orchestra section clapping for a chance to lick the bowl. Even as an opera-irregular, I can tell that this guy is a star.

 

 

The Met’s lineup caters to the most reliable demographic of its audience. The 2024-2025 season delivered such classics as La Bohème and Rigoletto, along with the Met premiere of Moby-Dick. Flawless performances I’m sure, but little by way of groundbreaking or risk-taking. However, on the night we attended, I saw more Asian people in the audience than I’ve seen at any arts event in the last two years in a theater, museum, or gallery. Ms. Oh’s cameo had clearly delivered a new (or concentrated an existing) stream of racially diverse patrons. 

 

If the Met was as impressed as I was by La Fille’s turnout, they’d be wise to keep this up and share the love with other groups. Perhaps a new Black opera will be added to The Met’s repertoire of Fire Shut Up In My Bones, Malcolm X, and Porgy and Bess. Maybe we’ll get a comedic cameo from the Black community’s Sandra Oh equivalent (who is this?!). I’d be keen to return to the opera house at either announcement. Fingers crossed that silky tenor Lawrence Brownlee will be there, too.         

 

blacklove 🖤 and starlight 🌟 

 

The Met’s 2025 production of La Fille du Régiment was open from October 17 – November 12, 2025. It was composed by Gaetano Donizetti (d. 1848), conducted by Giacomo Sagripanti, and starred Erin Morley, Susan Graham, and Lawrence Brownlee. I purchased my own ticket for this performance.