Dessay has famously been plagued with vocal troubles over recent years, but she has confidently returned to a full schedule, firmly re-establishing herself as one of the most dynamic singers of her generation. Her performance in Laurent Pelly's La Fille du Regiment at Covent Garden was not, on the night I attended, note perfect, but her presence, acting and courageous - nay, fearless - vocal delivery were something to behold.

Here, Dessay's current vocal problems, if you can call them problems, are to be found, though not in abundance. Some top notes display a rather hollow vibrato, there is the odd snatch of carnivorous portamento and some of the note entries are fractionally imprecise. Yet none of it matters a jot: this is performance to treasure. Dessay's Amina is a fragile little girl, ardently passionate in her love and confused, shocked and unsure after her night visit to the inn. Even when admiring the pinpoint coloratura, sweeping roulades and stratospheric top notes, one cannot help but be deeply moved by the characterisation. As did Callas, Dessay acknowledges her vocal troubles and pushes confidently past them, allowing the lengthy legato lines great space and fighting ambitiously for every decorative passage. This is truly wonderful singing.

And there is little to let the side down elsewhere. Carlo Colombara brings a honeyed seductiveness to his rich, resonant bass, making the character of Rodolfo a sort of sympathetic Don Giovanni. Francesco Meli, as Elvino, can seem strained in the earlier scenes, but his slightly acerbic tenor blossoms in the opera's second half, spinning the most luxurious pianos in all vocal registers and phrasing consummately. Listen to his soaring, ethereal contribution to the Act Two quartet Lisa! mendace anch'essa!. Sara Mingardo takes time to warm her deep contralto, but she soon proves a sympathetic, moving figure. And I love Jaël Azzaretti's Italianate, light-voiced Lisa, though she never quite nails the fioriture in her brief Act Two solo.

As the CD booklet explains, this recording of the opera follows a critical edition made by Alessandro Roccatagliati and Luca Zoppelli, which reinstates one number and transposes two others to their original tessitura. Evelino Pidò guides the spirited Orchestre et Choeurs de l'Opéra de Lyon through Bellini's intricately wrought score, producing a clean orchestral sound throughout, with bright woodwind and warm strings.

Oddly, the whole does begin to plod a couple of times, but Dessay's presence is so completely captivating that any longeurs are soon left stranded behind. This is an exciting bel canto release.

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