A co-production with the Nationale Reisopera, where it was premiered earlier this year, Scottish Opera's Seraglio has been shipped over from the Netherlands with one clear difference: where, presumably, the original production was in German, here it is in English. From the outset when Dimitry Ivashchenko's Russian-sounding Osmin confronts Eric Laporte's French-toned Belmonte as he attempts to gain entry into the harem of Thomas Gerber's German Bassa Selim, there's comic potential in the multiplicity of accents sported by the cast, though it's an opportunity missed by directors Tobias Hoheisel and Imogen Kogge in translating their dialogue into English. The modern turns of phrase would sound snappy if they tripped off the tongue, but fall rather flat when being laboured over by someone less than fluent in the language.

However, it's in regard to the singing that the language decision is particularly questionable. The opera might as well be sung in Esperanto for all that the text comes across. About the only clearly audible words sung by Julia Borchert's Konstanze were "grief" and "die".

Hoheisel and Kogge's staging is minimalist and stylised, the set a black box dominated by a sandpit in which the cast cavort, dressed in vaguely period costumes in bold colours. The physicality of the production is at the expense of the quality of the music, though. Jeremy Carnall draws energetic, stylish playing from the Orchestra of Scottish Opera, but it's largely ignored on stage where for all the energy of the spoken dialogue, the singing is curiously weak and listless. Only Rebecca Bottone (the one cast member not in the original Reisopera production) as Blonde succeeds in maintaining her sparky characterisation throughout, even if the exuberant squeaking is a little much at times.

· In rep until November 3. Box office: 0870 060 6647. Then touring.