In an age where youth and haste are prized, this is anachronistic: Claudio Abbado, at the age of 72, is conducting his first Magic Flute. Paradoxically, it would be hard to imagine the piece sounding fresher, more limber or agile.

Baden-Baden's vast, state-of-the-art Festspielhaus has tempered its ambitions since its grand opening in 1998. Rather than trying to rival Salzburg of yore, the house now concentrates on productions with realistic ticket prices and a family-friendly feel. Still, a touch of exclusivity is desired. Abbado brings just that.

He also brings his son Daniele Abbado, who is Intendantof the Teatro Valli Reggio Emilia and staged this Magic Flute for his own theatre, where it opened last month. Clearly not all talents are hereditary. To be fair, Daniele Abbado has done well on the Italian opera scene, where a static and decorative approach are more acceptable than they seem in a German context.

Here imagination is limited to the aural, but there is more than enough of it to make up for the leaden production. While staging and design recall a slow-motion animation of the illustrations in a Jehovah's Witness magazine, the Mahler Chamber Orchestra plays as if the ink were still wet on the score.

Like many exponents of the period-instruments' movement, Claudio Abbado favours minimal use of vibrato, fleet tempi, transparent textures and raw-sounding brass. But the organic elegance and dignity are entirely his own. No musician is ever pushed beyond the possible and every phrase is given room to breathe. The delicacy and perfection are astonishing.

Pleasing sounds emerge from the young cast, too. Georg Zeppenfeld's Sarastro has energy and edge to match his authoritative depths, Rachel Harnisch's Pamina is stylish and musical and Erika Miklosa makes an effortlessly accurate Queen of the Night. As Tamino, Christoph Strehl swoops up to his high notes but otherwise sounds noble, sensitive and good. Nicola Ulivieri's Papageno has charm and warmth.

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