““Edelson’s direction is, as always, sprightly, fleet, detailed, and spot on. His choreography, ranging from the quasi-ragtime to the toy-solider-inspired to the old-timey music hall, is ingenious. Edelson maintains just the right operetta energy and velocity in the spoken French inter-musical dialogue segments, and he marshals an abundance of visual gags, including tastefully tittering romantic embraces that highlight the proportionate contrasts between the statuesque Futterer and the compact Ballerini.”

- La Scena Musicale

”A series of large cutouts forming a vast mountain range serves as the colorful backdrop and also a clever metaphor for Opera Saratoga’s new production of Donizetti’s ‘The Daughter of the Regiment.’ All those vertiginous peaks and valleys quickly brought to mind the vocal score of this bel canto classic sung in French. The opera’s silly and obvious plot is only there as a vehicle for lots of vocal acrobatics, which the cast delivers with ease and beauty... director and choreographer Lawrence Edelson keeps it all in good taste with everything tied back to the score. It never feels like there’s some concept or prank inserted for its own sake. .. Some of the best fun comes from the small retinue of soldiers. They dance way more than they march and also sing with impressive unity and flair.”

- The Times Union

”It was a splendid affair marked by an exceptionally high level of singing, just the right amount of fun and frolic, and a visual that was strong and appealing... Director Lawrence Edelson choreographed the soldiers and other lineups with playful, catchy moves similar to some of Beyonce’s routines that brought chuckles. Cameron Anderson designed the colorful Alpine set (that cloud looked like a macaroon) and the drawing room with its great chandeliers. They were lit with marvelously vivid color by Josh Epstein.”

- The Daily Gazette

”...Easily the most charming moment of the opera seemed like pure plagiarism, where in Act II, Sulpice, Marie and Tonio come together, face the stage and sing the rip-roaring cavatina Tous les trois réunis. I dare not accuse Mr. Edelson of stealing this moment, but the joy reflected almost literally the trio of Gene Kelly, Donald O’Connor and Debby Reynolds in Singin’ in the Rain.... By the end here, with the principals, the supernumeraries and the Saratoga Chorus men’s silly but sensational voicing for Salut à la France, one realized just what a resplendent opening Opera Saratoga had this year. The other operas will have their dreams, passions and legends, but Mr. Edelson and conductor Andrew Bisantz offered, on his balmy evening, two hours of unrestrained vocal and physical treasures.”

- ConcertoNet
”