Nicholas Hytner's English National Opera production of The Magic Flute caused something of a stir when it was first seen in 1988. Hytner was one of the first directors to question the opera's awkward ideology, politically correcting its racism and quietly pointing out that its vision of enlightenment is based as much on concepts of class as on ideas of universal wisdom. Monostatos is transformed from a Moor into a vicious, velvet-clad sybarite, while Sarastro's very aristocratic brotherhood are first seen returning from a posh, if rather gory, shooting party. Its greatest strength lies, however, in Hytner's ability to question the opera's ideological integrity without fracturing its unique combination of slapstick and sublimity. The magic is genuine throughout, and some of it, particularly the Queen of the Night's first appearance, is simply heartstopping.

Musically, its current revival is, by and large, outstanding, too. There are minor flaws: Helen Williams's Queen isn't quite fierce enough; as Pamina, Janice Watson now sounds a bit mature, though her breath control and the eloquence of her phrasing remain remarkable. The rest of it, however, is exceptional. Toby Spence is well nigh ideal as Tamino - gauchely handsome, vocally effortless and with just the right ring in his tone to suggest incipient heroism.

Andrew Shore's Papageno undercuts bluff, northern wit with hints of sadness and frustration; his excellent Papagena, modelling her performance on Julie Walters in Dinnerladies, is Elizabeth Watts. John Graham-Hall is a suitably repellent Monostatos, Clive Bayley a pensive Sarastro, more aware of his own potential moral weaknesses than most.

In the pit, American David Stern conducts with just the right mix of austerity and humour. Everyone's diction, for the record, is excellent: this is one production that would make ENO's planned surtitles redundant.

· In rep until October 21. Box office: 0870 145 0200.