The Magic Flute, Grand Theatre, Leeds, ***

Fantasy journeys provide the theme of Opera North's spring season. We have already seen a stunning revival of David Pountney's brilliant production of Martinu's Julietta, and to come is a semi-staged version of Berlioz's La Damnation de Faust. But The Magic Flute, Mozart's Enlightenment parable, offers a positive take on the search for love and rationality, as you might expect from an opera composed two years after the outbreak of the French Revolution. And in Tim Supple's new production, it all ends in rejoicing and reconciliation. Even those old enemies, Sarastro and the Queen of the Night, decide to bury the hatchet and embrace each other.

Where and when does this story happen? Even in the original, nothing is that clear. Ancient Egypt? Eighteenth-century Vienna? With the aid of a perky new translation by Carol Ann Duffy, Supple and his designers – Jean Kalman for sets and lighting, Tom Pye for costumes – have gone for contemporary references. Prince Tamino is a backpacker, Pamina first appears in a woolly hat. The Queen of the Night is a curvy Hollywood platinum-blonde, hard as nails, while her three ladies wear smart black suits, scarlet stockings and dark glasses. Papageno is appropriately grungy. Perhaps Pamina could have done with more style. The dancing children who impersonate the snake, and, later, the animals who dance to Tamino's flute, were unconvincing, but in general, the updating works well.

The problem of Monostatos, the black would-be rapist, is cleverly resolved. Opera North has also cast black singers in the roles of Sarastro and his two assistant priests. So Monostatos, a hunk who struts around naked to the waist, is clearly the firm's bad egg, the one who cannot resist exploiting his position of power.

Imaginative lighting, and abstract but suggestive sets, underlined the ordeals that Tamino and Pamina have to endure. The end of Act I, when Tamino and Papageno are hooded and led away to undergo their initiation trials, while Pamina is left distraught and alone, was particularly effective. The sublime simplicity and heart-stopping directness of so much of the music was not lost. William Lacey, conducting, provided well-judged tempi and obtained beautiful sonorities from the orchestra.

The singing was mostly excellent. Phillipe Do's heroic tenor and engaging presence made Tamino a more distinctive character than is sometimes the case. As Pamina, Thora Einarsdottir gained in confidence. She didn't make enough of the great moment when, about to confront Sarastro, she urges Papageno to be truthful. But her grieving aria in Act II was beautifully done and sensitively accompanied. Mark Coles was a benign Sarastro, with superb low notes, and was well supported by his two acolytes, Keel Watson and Ronald Samm.

Matthew Sharp as Papageno gave a very physical performance, and his lively characterisation made up for a rather thin voice. As the Queen of the Night, Helen Williams was sensational. Her second aria got a deserved ovation. The Queen's appearances are brief, but Williams's characterisation made the maximum impact. Here, surely, is a star singer due for wider recognition. Her three ladies, Natasha Jouhl, Serena Kay and Alexandra Sherman, produced some beautifully blended singing, as did the Three Boys.

This is a show clearly intended to have a wide appeal and, hopefully, draw in new audiences for opera. It deserves to succeed, for it is done with style, humour and heart.

Touring to Nottingham, Salford, Newcastle, back in Leeds 11-20 June, then Sheffield (113 243 9999)