Prokofiev's lyrical Betrothal in a Monastery, based on the eighteenth century English opera The Duenna, by the Linleys, has a convoluted plot of overprotective and possessive fathers, jealous boyfriends, lovelorn girls, lots of disguises and a clever woman (the duenna) who secures her financial future and brings the lovers together.

The Royal Conservatoire of Scotland (formerly RSAMD), in its co-production with Scottish Opera directed by Rodula Gaitanou, takes the opportunity of its young cast to set the opera in early 1980s Seville, with most of the chorus as punks. Hanging out in the market square in a typically adolescent way, they connive with the lovers to thwart their elders.

As Louisa, whose father wishes to marry her to wealthy but boorish fish-merchant Mendoza, Kim-Lillian Strebel is lively and resourceful in her punk-chic. Her voice soars effortlessly and holds its own in the ensemble, especially in the quartet with Mendoza, his friend Don Carlos, and her boyfriend Antonio.

Antonio is poor and a musician and Emanoel Velozo's light tenor suits the rather lighthearted character. Jacob Holtze does a good line in exasperation as Don Jerome, particularly in his lament on the trials and tribulations of having an obstinate daughter, or when he is rehearsing the on-stage band - all tricked out in football colours and watching a match on TV - with constant interruptions.

Louisa's brother Fernando (Mikhail Pavlov) is jealous of Antonio who had a fling with Louisa's friend Clara (Anush Hovhannisyan), now the love of Fernando's life. Unfortunately, he offended her by breaking into her room one night, so she feels compelled to hide in a convent. Hovhannisyan catches well the prissiness of Clara, also how aghast she is on donning the nun's veil, while her voice conveys the warmth and sincerity of Clara's feelings.

Fernando is intense, and Pavlov's rich bass fills out the character. In his argumentative duet with his father, trying to persuade him against marrying Louisa to Mendoza - after all, Antonio is better married to Louisa than free to go after Clara again - he switches between rational adult man-to-man and teenage insubordination.

Mendoza (Ross McInroy) has half his meals in his beard and an obsessive interest in fish. Despite the advice of his socially superior friend Don Carlos (Andrew McTaggart - who could easily audition for Marvin the Paranoid Android), his vulgarity is constant; the Peeping Tom scene where he spies on the snogging Antonio and Louisa (believing her to be Clara) is well-played.

Duenna Lynda-Jane Nelson sees that outwitting Mendoza will give her an opportunity to trick him into marriage to herself. She wins him as much by tickling his beard, of which he is inordinately proud, as with her implacable good humour vivid in her voice.

Of the drunken monks, Jon Stainsby's Father Augustine who marries the various pairs of lovers is sanctimoniously sincere, Matthew Todd's Brother Elixir a loud and tenacious drunk.

Jamie Vartan's simple square design leaves plenty room for the big chorus numbers choreographed by Kally Lloyd-Jones, while conductor Timothy Dean holds stage and orchestra pit together in this joyous and exuberant performance.