‘I am excited by the thought that three popular operatic masterpieces (Carmen, Flute, Hänsel) might persuade people into the theatre to experience opera for the first time,” writes general director David Pickard in this year’s Glyndebourne on Tour programme. Glyndebourne’s plain vanilla production of The Magic Flute could have been designed to do just that – but by ‘plain vanilla’ I certainly don’t mean drab and dreary. Quite the reverse.

Designer Anthony Ward points up the fairytale elements by using an ever-changing series of vividly coloured gauze cloths, using black only to provide contrast as Tamino undergoes his initiation tests. The animals that Tamino meets as he sets out to rescue Pamina from the clutches of evil tyrant Sarastro are also exotically coloured – I should love to have seen more of the punk penguin.

Some have complained that Glyndebourne’s Flute short-changes the Masonic elements, and darker moral ambiguities of the opera. Certainly Carlo Malinverno’s Sarastro comes over as a mild sage rather than a sinner. But a more crystal clear piece of storytelling would be difficult to find – the production was originally directed by Adrian Noble (tour director Frederic Wake-Walker), and his long experience with the RSC shows in the careful crafting of the dialogue, and well observed body language: there is absolutely no doubting the ecstatic vibes as Tamino and Pamina are finally united.

Less confident is the transfer of characterisation into the singing, which is, by and large, workmanlike rather than riveting. Lothar Odinius and Ana James sing warmly as Tamino and Pamina, while Mari Moriya is all vicious glitter as Queen of the Night – her top notes would slice through the most deep-frozen butter. Daniel Schmutzhard’s Papageno, the bird catcher (pictured), is more interesting: most of the time we get a stolid country lad, a bit short of a sense of humour perhaps. Then Papagena (Eliana Pretorian) appears – disguised not as the usual old crone, but as a feisty-looking slapper.

She can’t wait to throw off her punk wig. Papageno lights up, and quite literally sweeps her off her feet.

From crystal clear storytelling to crystal clear orchestral playing. Conductor Douglas Boyd is new to opera, but he certainly knows how to get the best out of the Glyndebourne on Tour orchestra. I have never, ever heard Mozart’s score played with more spirit and panache. Opera newcomers will certainly go home with some glorious music and a well-told fairytale in their heads, and what’s wrong with that? The deep philosophical stuff can come later.

n There is another performance of The Magic Flute tomorrow, Friday. Hänsel und Gretel is staged tonight, and Carmen on Saturday. Tickets 0870 060 6652 (www.miltonkeynestheatre.com).