David McVicar's production of Madama Butterfly is just the kind of version of an operatic staple that Scottish Opera needs: classic and timeless, albeit one that doesn't shy away from the nastier aspects of what is a rather unpleasant story.

This is a thoroughly unsentimental production in which John Hudson's Pinkerton is cast as a cold-hearted adventurer, producing what is presumably a picture of his American intended as he toasts the day he will marry a real American bride. That Goro, a wonderfully oily, scheming Harry Nicoll, ditches his traditional attire having orchestrated the marriage, and assumes the dress of an Edwardian gentleman in the second act suggests an equally cynical exploitation of Japanese traditions to pander to the desires of the foreigners.

Rebecca Nash is a touchingly fragile Butterfly, though her singing, often beautiful, has the feeling of being rather held back - it only occasionally touches on the dramatic power required in the opera's later scenes. Combined with Hudson's reliable but underpowered Pinkerton, it isn't the most memorable pairing. Compensation, though, comes in the smaller roles: Jennifer Johnston's impassioned Suzuki and a world-weary Sharpless from Garry Magee together with Nicoll's Goro make a strong supporting cast.

The most impressive performance, however, is in the pit, where Francesco Corti drives the music along at a breathless pace, stripping it of any tendency towards mawkishness and revealing its rich detail in unusual clarity. Scottish Opera's orchestra has proved to be one of its greatest strengths in recent seasons and does so again here, while Corti's UK debut suggests he could be a name to watch; particularly for an opera company in need of a music director.

· In rep until May 30. Box office: 0141-240 1133. Then touring.