Patrice Caurier and Moshe Leiser's Carmen has been a sound investment for the two companies for whom it was created - both Scottish Opera and Welsh National Opera are reviving it in coming months. In Scotland, thanks to the recently implemented smoking ban, this is a production without cigarettes, something of a challenge in the first act, which takes place outside the gates of a factory that produces them. However, revival director Aidan Lang's solution of wafting some smoke in from the wings is an elegant one; you can't see the factory, but you can smell it, which adds to the sensuous appeal of this production.

This is a spare but intensely atmospheric production. There is no set to speak of, save an unchanging bleached-out backdrop, but Christophe Forey's magical lighting transforms the mood in each act using myriad shades of orange and yellow to suggest the heat-drenched landscape, and a cool greeny-blue to create the chill of the mountain night. Seville in the opening act is far from brightly lit, colourful and cheerfully sanitised, but rather a dusty, dirty, sweltering landscape in which the soldiers lounge around in the heat.

Into this setting bursts Andrea Szántó's Carmen, played as a fierce, feral, almost masculine woman, motivated by boredom and disdain rather than passion. It's not an overtly sexual performance but it comes across as disturbingly sensual. Szántó is a magnetic presence and if she sometimes overplays the vocal hardness of her femme fatale, it makes her sudden lyrical transformation in the one moment when she thinks she loves Don José all the more striking. She's well supported by a strong supporting cast led by Peter Auty's Don José, who grew in confidence and delivered a scorching final encounter. This is a memorable, visceral performance, underpinned by superb playing from the Orchestra of Scottish Opera under conductor Gintaras Rinkevicius.

· In rep until June 10. Box office: 0141-240 1133.