Thomas Allen has been making occasional forays into opera directing in recent years and here he makes his national opera company directorial debut with this production of Rossini's classic for Scottish Opera. As a singer with vast experience in the opera house, it is no surprise that Allen should want to help his cast rather than hinder them, as seems to be the aim of some contemporary directors. His Barbiere is straightforward and uncomp- licated, offering no radical reappraisals to upset traditionalists. It is also one of the most handsome productions Scottish Opera has produced for some time; the street-scene frontage lifting to reveal designer Simon Higlett's gorgeously shabby interior for Dr Bartolo's house, attractively cast in dappled shade by Mark Jonathan's lighting.

The odd comedic flourish aside - stilt-walking chorus members, servants bursting through upended paintings, nuns on bicycles - Allen leaves the stage clear for his cast, who don't always rise to the occasion. Adrian Dwyer has the notes but his somewhat strained, small tenor makes a rather weak Almaviva, and Thomas Oliemans' Figaro doesn't have the vocal power to match his swagger. On the opening night, Karen Cargill initially made heavy weather as Rosina but soon lightened up to give a vivacious, teasing performance.

In the second act, the succession of ensembles was handled with a deft touch that kept the comedy gently rolling. Unfortunately, this wasn't equalled by what was happening in the pit, where conductor Sergio la Stella seemed intent on sabotage. The usually reliable Scottish Opera Orchestra was frequently all over the place, the playing ragged and rather raucous. Still, it is a crowd-pleasing production and deserves a revival.

· Until November 1. Box office: 0870 060 6647. Then touring.