Laurent Pelly and Chantal Thomas’ internationally acclaimed (co-production with London’s Royal Opera and the Metropolitan Opera in New York) Fille is always a welcome revival and a testing showcase for title protagonist newcomers to prove their mettle in a staging originally designed for the lithe and sprightly Natalie Dessay.

This time round, Vienna warmly greeted Julie Fuchs to the production, who well deserved her ovation for a charming blend of cheeky tomboy swagger and sweet femininity - quite credible and intense throughout. Fuchs’ instrument lies somewhat mid-range, so-to-speak, showing greater dynamic elasticity and range of timbre than Dessay, but falling short of a Freni (not to mention Sutherland who proved her innate facility for comedy through this part) in tonal depth. Nevertheless, full marks on this evening for perfect intonation, classy style, and engaging dialogue.

Her Tonio, John Tessier, is familiar to the production. His portrayal is cleverly scaled, sensitive (yet physically more masculine than certain predecessors) and while lacking a typical tenoral ping at the top (the vocal mix above the stave is heavy on falsetto at times), the overall timbre is full, and his charmingly-confident reading proved a true winner with the audience.

Donna Ellen is a rather atypical Marquise de Berkenfield, avoiding all the hackneyed traps that often accompany these camp old dames, rather displaying stagecraft to match any actress in the West End or on Broadway. At times a little more bite to the singing line would have been welcomed, but on balance, she won the day with an interpretation that was subtle and rounded. 

The Duchesse de Crakentorp is an ideal showcase for an ageing diva (my first stage experience was at the legendary Met production with Ljuba Welitsch in the role - augmented by the presence of Joan Sutherland, Luciano Pavarotti, Regina Resnik and Fernando Corena in the other leads) who may or may not retain some of her vocal prowess, but who alone through her celebrity status can demand attention with every nuance or gesture she lends the part. While unfailingly stealing the limelight with her iridescent glamour, Ildikó Raimondi (replacing an indisposed Mara Zampieri) doesn’t quite meet the criteria for the part, and her severely edited rendition of Gershwin’s “By Strauss” sadly failed to balance the act. A single boo from a disenchanted male was exaggeratedly unkind - but, indeed, this was somewhat a case of miscasting and a less-than-ideal choice for a deserving artist of this calibre.

And last but not least there was Carlos Álvarez’ inimitable Sulpice. Commanding, endearing, sailing through his dialogue with customary aplomb and establishing the axis of the piece while proving (in accord with certain legendary predecessors) that with appropriate finesse and skill, this role can ride successfully with the timbre of a Scarpia or Germont père as easily as with a typical basso buffo. 

While adequate, the evening could have benefited from greater energy and effervescence from the pit (conductor, Evelino Pidò). The brass section suffered several mishaps in the overture, and some of the set pieces (“Convien partir” as one example) dragged more than a touch in tempo. 

However, all in all, a repertoire evening with a generous helping of entertainment value.