Union Avenue Opera's second offering of the season, "La fille du regiment (The Daughter of the Regiment)" is a hard one to cast. It requires not only a personable coloratura soprano, but a tenor who can knock out high Cs by the caseload, or there's no reason to do it.

The whole cast needs to be comfortable with spoken dialogue instead of sung recitative — a particular challenge when the opera is performed in its original French — as the plot is propelled by its rapid-fire lines.

As heard at its opening on Friday night, artistic director Scott Schoonover assembled a good group of performers. Tenor Gregory Schmidt was a standout as Tonio: He has a big, ringing voice with a distinctive timbre of real beauty — and the famous nine high Cs in "O mes amis" were absolutely flawless. He's a warm and appealing performer, and should have a great future.

Soprano Erica Cochran, as Marie — the titular daughter of the regiment, adopted by them in infancy on a battlefield — was pert and perky, and charming throughout. Her voice is light, but she's a true coloratura, with vocal flexibility and high notes to spare.

Baritone David Dillard, last seen at UAO as the Police Sergeant in "Pirates of Penzance," seems to be making a career out of playing noncommissioned officers; here he was a likeable, vocally secure Sergeant Sulpice. Mezzo-soprano Dixie Roberts seemed a bit young for the Marquise de Birkenfeld but played up its comic possibilities.

Director Jolly Stewart is no stranger to St. Louis audiences, but this was her first appearance costumed and bewigged with UAO; she held the stage magisterially in the speaking role of the Duchess of Krakenthorp. The small chorus sang well.

Conductor Kostis Protopapas kept things moving brightly, and maintained good communications between stage and pit. There were some issues in the orchestra itself, with the horns having a bad night and some of the upper strings sounding occasionally scrappy.

Patrick Huber's simple sets didn't get in the way of the singers or the story. Lyn DeMoss' costumes did, particularly the very poor excuse for French uniforms. They don't need to be authentic; they do need to be at least vaguely military. And someone should note the difference between a canon (ecclesiastical) and cannon (military), and then fix the surtitles.