The Royal Opera House has premiered a revival of Donizetti’s bel canto comedy *La fille du régiment* this summer, offering audiences a lively contrast to the more tragic tones of Bellini’s *I puritani*, which recently concluded its run. The production, originally directed by Laurent Pelly in 2007 and now revived by Dan Dooner, blends spirited humor with moments of emotional nuance.

At the center is Spanish soprano Sara Blanch, making her debut in the role of Marie, a spirited tomboy raised by French soldiers. Her portrayal stands out for its vibrant comedic timing, as well as her technical command, particularly in a challenging mad scene that parallels the famous sequence from *I puritani*. The character’s transformation from a carefree soldier’s daughter to a refined lady under the guidance of the Marquise of Berkenfield is depicted with both humor and subtlety. In one scene, Marie’s forced assimilation into high society—marked by a clumsy attempt at singing a distracting aria while donning an uncomfortable dress—evokes both laughter and sympathy, especially when Marie briefly recalls the regimental anthem that shaped her childhood.

Conductor Yves Abel returns to lead the orchestra, maintaining a brisk pace and highlighting the score’s spirited trumpet calls in the overture. Tenor Juan Diego Flórez, reprising the role of Tonio, Marie’s earnest Tyrolean lover, delivers a performance marked by vocal precision and youthful energy. His rendition of “Pour mon âme” features the demanding sequence of nine high Cs, executed with impressive ease, underscoring his enduring mastery of the role.

Adding depth to the cast, mezzo-soprano Sonia Ganassi assumes the role of the Marquise, balancing the character’s haughtiness with a surprising tenderness. Her interactions with Paolo Bordogna as the affable Corporal Sulpice and Donald Maxwell in the comic role of Hortensius provide effective comic interplay. The production also includes a brief but memorable appearance by Tamsin Greig as the Duchess of Crakentorp, whose spoken, bilingual role injects a playful imperiousness without overshadowing the main action.

This revival of *La fille du régiment* successfully combines bel canto virtuosity with comedic charm, offering a production that is both entertaining and musically impressive. The Royal Opera House’s staging captures the opera’s blend of farce and heartfelt moments, reaffirming its place as a favorite in the bel canto repertoire.