London Coliseum, 5 February 2016

There are as many approaches to The Magic Flute as there are directors to stage them, but Simon McBurney’s has to be one of the most engaging of recent attempts. Visually exciting throughout, the videos and rapid lighting changes never inhibit the music. Added to this, the raised pit adds a cutting edge to the orchestral sound which is crisper than usual.

If some of the ideas wear less well as the evening draws on – the birds are fine the first time but after that lose their impact – the basic concept is sound and puts the complex narrative line to the fore.

The revival is also cast from strength. Allan Clayton may not look the dashing hero but he sings with easy lyricism and is a fine foil for Lucy Crowe’s radiant Pamina. James Creswell is a rock as Sarastro, not only in the gravitas of the voice but the authority he brings by his presence. Peter Coleman-Wright is a surprisingly elderly Papagano, though there is nothing in the text to preclude this, and his humour is more reserved than most other singers in this part. Ambur Braid certainly has the coloratura for the Queen of Night but sounded rather harsh edged on the first night. Hopefully it will settle as the run proceeds. Smaller parts are all well sung, particularly the three boys dressed – in this production – as old men.

The staging includes a large number of extras, some of whom are justified, some simply get in the way. The same is true of the use of the orchestra pit as an entrance – there are times when it works well and others when it distracts from the action. A little gentle rethinking here could smooth the transitions.

Mark Wigglesworth drives the score with enthusiasm and his chorus respond succinctly.

There are twelve more performances until 19 March 2016.