Adrian Noble's production of the Magic Flute, premiered at this summer's Glyndebourne festival, divided the critics. Many found it insubstantial. Others thought it got somewhere close to the heart of the piece. Now it is quickly back in service as part of the autumn Glyndebourne Tour, with a new cast, conductor and orchestra.

Toby Stafford-Allen's Papageno, well-acted and generously sung, took the performance honours this time, another fine British baritone in the making. As Tamino, Peter Wedd sang with great taste and some ardour, though he looked disconcertingly like Tony Blair (which added new meaning to Tamino's moral trials).

The French soprano Valérie Condoluci was an unfailingly sympathetic Pamina, while Lubana Al Quntar fearlessly attacked the Queen of the Night's coloratura blockbusters, though she was a little exposed at the very top of her range. Natasha Marsh also stood out as the First Lady. Alexander Briger's conducting was well-judged, especially in the second act.

This is not a definitive Flute - if there is such a thing. But Noble's approach is straightforward and clear. It accords pride of place to the moral cogency of the work, which is the right priority, and lets some of the trickier dramatic issues in Mozart's and Schikaneder's unusual work fall where they may. No one new to the Flute would have much idea why the Queen of the Night is so implacable, say, or know that Monostatos is supposed to be black.

Anthony Ward's all-purpose oriental settings and designs pose few questions. Noble's final twist, in which Sarastro does a Wotan, withdrawing from the final celebrations to allow men and women to take over from the all-male priesthood, is effective and intelligent. If the yardstick for a performance of the Flute is that you spend the ensuing hours thinking deeply about the mysterious magic of Mozart's operatic testament, then this one passes the test.

· Ends tonight. Box office: 01273 813813. Then touring.