First seen in 2001 and now on its second revival, Scottish Opera's touring production of La Bohème is well worth a revisit: it's a good example of how successfully scaled-down opera can be made to work in venues too small for standard productions. Caroline Sharman's minimal staging gives the action a thoroughly modern flavour; the scene is less fin-de-siècle Parisian garret than scruffy 1990s Hoxton bedsit, with Puccini's struggling bohemians transformed into impoverished YBAs.

Into this milieu comes Mimi, looking like an art student in her jumper dress, thick black tights and DM boots. She wears red throughout, presumably in allusion to her consumptive condition, something also hinted at in Marcello's artwork - a white canvas splashed with red.

These details aside, the production largely avoids such imagery; letting the performances of the six young singers speak for themselves. While Sarah Redgwick and Nicholas Ransley make a quietly sympathetic central couple, her Mimi touchingly believable in her frailty, most of the acting and singing honours go to the opera's peripheral couple. Stephanie Corley lights up the stage as an outrageously saucy Musetta, matched by Paul Carey Jones's fiery, possessive Marcello.

The reduced orchestration by Jonathan Dove retains the flavour and colour of Puccini's original and is performed with delicacy by the 16-strong ensemble drawn from the Orchestra of Scottish Opera conducted by Derek Clark. Indeed, the playing is the undoubted musical highlight of the performance, even if it has a tendency to get a touch too expansive at the big moments. And while it didn't swamp the singers in Stirling, their words were often less than clear. However, that may not have been such a bad thing, given that the English translation by Amanda Holden reveals the clunking gulf between the banality of much of the text and the poetry of Puccini's score.

· At Reid Hall, Forfar, tonight. Box office: 01307 462958. Then touring.