There's often a sense of ensemble feeling to Theater an der Wien productions - and on this occasion Robert Carsen and his team (Gideon Davey, sets and costumes; Nicolaus Paul, choreography; Carsen and Peter van Praet, lighting) have created a true Gesamtkunstwerk - a theatrical experience guaranteed to linger in the memories of Vienna's opera goers for some time.

In an updated concept which seamlessly integrates ballet (or more specifically, choreographed movement) and opera, the audience is treated to a multi-layered essay which spans the gamut of sheer entertainment through to philosophical reflection on the world of illusion - both general, and self imposed. The programme notes quote Jonathan Swift (The Battle of the Books, 1704), "Satire is a sort of glass wherein beholders do generally discover everybody's face but their own ......".

The shredded silver foil curtains which mirror the auditorium from the opening bars of Rameau's score establish a direct confrontation between the stage and its spectators as the latter are swept into a world of smart phones, iPads, haute couture, and flashy bars.

Platée, (whose ultimate focus of desire is a Karl Lagerfeld look-alike) falls victim to the allures and heartless rules of the fashion world, blindly competing with the young and beautiful; slinky models, cross-dressers, men in black and straps. The eye never faces a dull moment here, and nor does the ear - with the inspired forces at work in the pit under the baton of Paul Agnew (replacing an indisposed William Christie for the entire series).

Carsen not only sharply defines his leading protagonists (all well balanced) - but to no lesser degree, each and every individual on the stage. As such, praise must equally extend beyond the leading singers to the dancers, the extras, and members of the Arnold Schoenberg Chor who all contributed to this rewarding artistic experience.

At this particular performance, the first interval saw the Theater an der Wien's Artistic Director appear to announce the serious indisposition of Simone Kermes (La Folie) and to advise that the cast's Amour/Clairine - the talented soprano Emmanuelle de Negri - who would sing Folie from the score in the pit, while Kermes acted the role on stage. The result was a triumph for all concerned - and not least for de Negri who was bathed in well-deserved gratitude from both the auditorium and her colleagues at the final curtain.

Marcel Beekman (in the title role) must be singled out for his creation of an exceptional stage figure. Here, Platée - a delicious blend of Michele Serrault's Zaza in La Cage aux Folles and Barry Humphries' Dame Edna Everage - is a larger-than-life character who sparkles, charms, and establishes a rare rapport with the house.

Les Arts Florissants requires no introduction, and under their surrogate leader sizzled and sparkled through the long - yet pithy - evening.

An absolute triumph for all in this co-production with the Opéra Comique, Paris.