In an age when directorial arrogance wrecks so many opera performances, it was good to find musical values to the fore in Lyric Opera's production of Puccini's opera at the NCH on Saturday. The combination of fine singing, authoritative conducting and splendid orchestral playing, complemented by Vivian Coates's simple and faithful-to-the-text staging, made this probably the best thing this company has yet done.

A musically well-intentioned but under-voiced Pinkerton apart, all the roles were cast from strength. In the name part, Julia Melinek acted superbly, portraying the character's youth and vulnerability by means of subtle facial expression and deft movement. And when you add a cleanly-focused and limpid soprano voice, complete with good line, ample reserves of breath and all the necessary heft for the big climaxes, you have the perfect Puccini heroine.

Deirdre Cooling-Nolan's equally well-focused contralto offered a good contrast and fused perfectly with the soprano in their flower duet and elsewhere. Baritone Mark Holland, drably clad but rich of voice, was a warm and sympathetic Consul. The marriage broker was played and sung rather sedately by tenor John Marsden, but the rest of the smaller roles were strongly performed. The chorus, trained by Cathal Garvey, was impressively disciplined and accurate.

David Jones's understanding of the score was matched by his able conducting of it. His pacing and choice of speeds were always convincing and even his sometimes dangerously slow tempos never relaxed the tension. And he elicited marvellous playing from the Alan Smaleled orchestra. The 30-something players produced amazing volume when needed, and the inner detail of Puccini's orchestration was clearly audible at all times.