Muscat, the capital city of the Sultanate of Oman, has been a crossroads of culture for centuries. Ships from as far away as China once arrived here, bearing precious spices. Oman itself was and remains the leading producer of frankincense, the scent of which hangs in the air.

The Sultanate sits at the southern end of the Arabian Peninsula, with the Gulf of Oman to the east and the Arabian Sea to its south. The deep blue waters, reflecting a cloudless azure sky, contrast sharply with the desert mountains visible from all parts of the city.

Indian, East African, and East Asian cultures, mixed over centuries of trade, now reflect in this peaceful country’s population. Some call it the “Switzerland of the Middle East,” as it has never fought a war with its neighbors—or any country.

As it was centuries ago, the Sultanate remains a place where peoples and cultures connect.

On a recent visit to Muscat to review Donizetti’s “La Fille du Régiment” at the Royal Opera House Muscat (ROHM), I saw the venue serve as a bridge between Eastern and Western musical cultures. They made this clear with an actual bridge connecting its buildings. Inside, the design blends Western opera house elements with traditional Omani aesthetics. Outside, a marble square glistens, polished to such a bright sheen that it blinds in the sun. At night, it looks like water.

The building, inaugurated by Sultan Qaboos bin Said in 2011, is massive, with two auditoriums, a music library, and a small museum holding precious instruments—so rare that only a handful still exist. An interactive experience teaches visitors about music, allowing them even to try conducting an orchestra.

The Production

ROHM’s “Fille du Régiment” came as a touring production from the Opéra de Monte Carlo, featuring their chorus. Jean-Louis Grinda directed. Rudy Sabounghi designed the set. Jorge Jara created the costumes. Laurent Castaingt handled the lighting. Antonello Allemandi conducted the La Corelli Orchestra.

Grinda’s approach stayed true to its original 19th-century setting, the costumes period-appropriate. In Muscat, where opera is still relatively new, such a traditional approach felt right. Grinda introduced the characters via daguerreotypes: the cast posed as if having their portraits taken on stage. After the flash, these images projected onto the side and back walls, telling the backstory. Photos of young Marie and the Marquise de Berkenfeld appeared. Each photo of Marie showed her growing older until she became the vivandière of the esteemed 21st Regiment of the French Army.

Sabounghi’s set appeared as if framed in a vintage paper photo frame. This subtle detail was easy to miss at first but held meaning: the audience viewed a moment frozen in time. It helped suspend disbelief.

Castaingt’s lighting felt adequate—slightly dim, leaning into a yellow hue, and not as sophisticated as one might expect from such a major stage. It wasn’t poor, but it also never thrilled.

The Pit Needed a Boost

ROHM’s pit can hold up to 80 musicians. Its depth made it hard to see Maestro Antonello Allemandi, making it a challenge to gauge his style. He worked with a disappointing band. Color and depth of feeling were missing. It’s easy to blame the conductor, but the next night a different conductor, Alessandro Cadario, faced the same struggle. The orchestra sounded dull and even out of tune. Some musicians looked unenthusiastic. “Fille du Régiment” brims with rousing, martial tunes. The following night’s piano concertos should have let the orchestra shine, yet they failed to do so.

On stage, the principals performed well despite a fair amount of “stand and deliver.” “Fille,” with its opera buffa style, should allow more physical comedy. Instead, the cast seemed restrained. That doesn’t mean they disappointed, but I wanted more sight gags, more ad-libs, more laughter, grunts, and silliness—call it playfulness.

Like “Carmen,” “Fille du Régiment” features dialogue. Moving between speaking and singing can challenge performers. That’s also where comedic acting fits best, yet it felt underused.

Individual Performances

Veronica Simeoni, mezzo-soprano, sang the Marquise de Berkenfeld. The Marquise cares deeply about her nobility and laments wartime’s discomfort. Her opening, “Pour une femme de mon nom,” shows her frustration with the “terrible Frenchmen” who show no respect. Simeoni’s energy and vocal strength carried through her range.

In Act Two’s trio, “Le jour naissant dans le bocage,” the Marquise tries to give Marie a singing lesson. This scene offered delightful comedy. Jessica Pratt as Marie sang intentionally off-key in her lesson, yet still sounded marvelous. Sulpice, played by Omar Montanari, kept interjecting comments and distractions. The trio’s chemistry stood out. Marie kept breaking into the regimental song, annoying the Marquise. It was enjoyable, though it could have been even sillier.

Jessica Pratt’s soprano soared. She is a renowned coloratura who handles the highest notes with ease. She has portrayed the Queen of the Night, among other roles that demand stratospheric tessitura, and she aimed for the stars here without fear.

Marie’s character arc is compelling, and Pratt conveyed it well. The audience saw Marie evolve from a young girl into a beloved member of the regiment, who loved and was loved by them. Her values lie not in wealth or noble titles, but in camaraderie and adventure.

One of the opera’s tenderest moments is Marie’s Act One aria, “Il faut partir mes bons compagnons.” Here, she tells her beloved comrades she must leave them. Pratt sang with pathos and sorrow, a stark contrast to the earlier comedy. Her sadness—and that of the regiment—rang true.

Baritone Omar Montanari, as Sulpice, earned many laughs. He brought strong comedic chops and felt at home in the role. If the Marquise served as Marie’s “aunt,” then Sulpice was her “uncle.” He watched over her but never acted as a father figure. This dynamic felt right, and their interactions were tender without awkwardness. The singing lesson scene highlighted this bond, as they played off one another to great effect.

Finally, Tonio, sung by Antonino Siragusa, awaited his spotlight. His signature piece is “Ah, mes amis,” known for its barrage of sky-high notes. How did Siragusa fare? He nailed all nine high Cs. Each one sounded confident. He never strained; he sang as if it cost him no effort.

“Ah, mes amis” is a showstopper. Western audiences know it well and cheer like sports fans for this vocal feat. The Omani audience may have heard it for the first time. Their applause was long and loud, with a few bravos and whistles. While not as raucous as Western audiences might be, they responded with genuine appreciation. Great singing impresses anywhere.

Siragusa’s acting was good, but his voice took the lead. It had a pleasant brassy quality—neither too heavy nor too light.

The soloists did their part. The orchestra let them down. They deserved a brighter, richer foundation from the pit. Yet you sing with the orchestra you have, not the one you wish for.

The next evening’s Piano Duel at ROHM confirmed the orchestra’s weaknesses. Two young, world-class pianists performed Tchaikovsky and Rachmaninov concertos. Nikolai Kuznetsov’s take on Tchaikovsky’s Piano Concerto No. 1 in B minor, Op. 23, was athletic and exciting. Aristo Sham chose Rachmaninov’s Piano Concerto No. 3 in D minor, Op. 30, and offered a more nuanced, subtle approach.

The orchestra should have matched their energy and style, but failed. It provided no lift, no spark. After both performances, the audience chose Sham as the winner.

Final Thoughts

ROHM has much to be proud of: two world-class theaters, a growing local audience, and broad programming that goes beyond opera. Its educational outreach will foster new audiences for years. Muscat’s musical arts scene is thriving, becoming a center of excellence in the Middle East. Not everything is perfect, which puts it in the same company as opera houses worldwide. Opera is live entertainment, and perfection is rare. As long as the audience is satisfied, the opera house has met its main goal, and ROHM accomplished that mission.