Pavilion Opera defies any easy categorisation. Its realisation of Donizetti's masterpiece is minimal in every respect: no stage decor, no props to speak of, judicious cutting, seven principals, five chorus and no orchestra, only the piano accompaniment of music director Peter Bailey and an occasional third hand (that of the page turner) to add weight in the bass.

Yet to label it semi-staging consigns it unfairly to the realm of slightly souped-up concert performances, when the great virtue of Freddie Stockdale's touring production is that it can adapt and make such capital of St George's layout and architectural detail that it seems almost site-specific.

By using one of the long aisles and part of the balcony, as well as two doors on either side at the back of the stage, entrances were never less than highly dramatic. The space took on several different perspectives while simple sound effects, whether pistol shots or atmospheric footsteps on the wooden floor, helped conjure the Gothic and slightly spooky baronial hall of Walter Scott's original story. Add to that an energetic Highland reel and lavish costumes with swathes of silk and tartan, and it is clear that Pavilion maximises whatever it possibly can. Happily, that includes the music.

In Catherine May, it had a soprano who was incredibly confident, vital for a singer who must portray the gradual disintegration of self that is Lucia's fate at the hands of the three men dominating her existence: lover Arturo, brother Enrico and the Tartuffe-like priest Raimondo. May's rich and expressive voice was more secure in her high coloratura than many a more seasoned diva and, crucially, she showed from her opening exchange with the maid Alice all the signs of acute mental fragility.

That made the hallucinations of the famous mad scene - after Lucia has murdered the man she has been forced to marry - a perfectly credible development rather than a sudden explosion of dementia. It seemed logical, too, that David Lawrence's scheming Enrico should betray an alarming degree of instability, veering from false ingratiation to lip-curling malevolence and filling St George's with a fearsome volume. Tenor Mark Guerin's was a strong Arturo, who, after Lucia's demise, handled his equivalent mad scene in the final bars with admirable dignity.

A good evening, but hard, then, not to be a bit cynical about the champagne, that special ingredient of summer opera, when Pavilion's strong ensemble has quite a potent fizz of its own.

· Touring until July 26 July. Details: 01526 378231.