David McVicar's La Traviata looks set to become another Scottish Opera repertoire production. His latest offering may not present the opera in a radical new light, but it brings the director's trademark sumptuous period style to the work while keeping superfluous gimmicky details to a minimum.

Tanya McCallin's designs bring all the expected period flourishes - plenty of chandeliers and heaving bosoms, and the gloomy tone here is set by the omnipresent black draperies. There is some suggestion that the action is playing out in Alfredo's memory: the overture sees him traversing a leaf-strewn front of stage, Violetta's closed-up apartment visible in the background, while the ensuing three acts play out across her tombstone. It's a suggestion; the idea isn't developed any further. McVicar is at his best in the set pieces: though the first act felt a little constrained on opening night, the party scene of act two is an opportunity for some Moulin Rouge-style high jinks. After such flamboyance, the simplicity of the final act, lit in cool, grey tones by Jennifer Tipton, is all the more striking.

Carmen Giannattasio brings a voice of dark-hued power and fluidity to Violetta. Though initially not the most appealing of characterisations, it develops to a magnificent, pathos-filled final scene. Unfortunately, her performance is not equalled by that of Federico Lepre, who sounds out of his depth as Alfredo. He has neither the charisma nor the vocal power to express the ardour that persuades Violetta to abandon her life of hedonism. Compensation is provided elsewhere: Richard Zeller is an imposing presence as Germont senior while Catriona Barr gives a quietly impressive performance as Violetta's maid in the final act.