There’s a reason why operas are performed in music venues and not museums. To start, all of the audience can see the action, and singers can project above an orchestra that’s not centre stage. That’s not to say that some operas can’t work in a different sort of space. If any piece of theatre can withstand being taken out of a natural habitat, it’s one with a strong story. Oedipus Rex has stood up to countless retellings and Scottish Opera’s take at National Museum Of Scotland is the latest unconventional staging, albeit with mixed success.

Its strong community focus, embodied by the strikingly behatted array of Greek gods and full-voiced chorus, sparked a buzz of excitement about Roxana Haines’ spectacular production in the Grand Gallery. While sightlines for those at floor level were restricted, from a balcony perch views were superb across the whole expanse, taking in orchestra, soloists, choirs and their four conductors, as well as the cleverly devised role of speaker, played as a museum cleaner by Wendy Seager who kept the audience on track with the narrative. However, the museum’s fuzzy acoustic left Stravinsky’s orchestral score losing its bite, and soloists struggling to be heard.

Oedipus Rex, National Museum Of Scotland, 18 & 19 August, 8pm, as part of Edinburgh International Festival; main picture: Jess Shurte.