It may not be obvious how magic goes with machine guns, but in English Touring Opera’s production of Dardanus the combination of technologies works. It helps that the magician – Frederick Long as the soothsayer Isménor - is believably flesh-and-blood and probably not above wielding a machine gun should the need arise.

Rameau’s invented back-story to the foundation of Troy is presented in modern dress; one wonders, however, if the defeat of King Teucer’s army before the action starts was due to their out-dated kit. During the overture it is laid out on the war graves and those helmets are not 21st century. Yet Dardanus wears a standard issue shaggy lid.

Cordelia Chisholm’s set is simple – a rectangle of grey, gravelly material stands in for the war cemetery, and the earthen floors of the other locations.  Walls surround the rectangle, either internal or external. And the chorus is stripped down one to a part.

Director Douglas Rintoul’s lack of fussiness throws the attention on the characters and the music. Teucer’s daughter Iphise (Galina Averina) has fallen for Dardanus (Anthony Gregory); meanwhile the price of an alliance with Anténor is Iphise. Teucer (Grant Doyle) and Anténor (Timothy Nelson) sing the gloriously militaristic invocation to the gods Mars and Bellone with commendable gusto. Struggling with her treacherous love for Dardanus, and not keen on Anténor, Iphise goes to see the soothsayer.

His cave is flickering with blue and purple light. Long has a gorgeous voice and eschews affectation – this is one place where ‘stand and sing’ is most effective. When Dardanus arrives, he is given a potion, then a magic wand which, as long as he clutches it, makes him appear as Isménor. When Anténor turns up, clearly it works but, when he is followed by Iphise, who pours out her love for Dardanus and seeks ‘Isménor’s’ advice, it all becomes too much and he throws the wand away.

Back at the palace, Dardanus has been captured and incarcerated in the dungeon, with a crowd outside baying for his blood. Alessandro Fisher as Arcas, a side-kick of Anténor, has a fine insinuating way with him, as he urges Anténor to kill his rival. There is however, an emerging peace movement amongst the Phrygian populace. Eleanor Penfold divests herself of her fighting kit and dons a pair of white wings to hand what turn out to be party-poppers to the crowd.

Act 4, in the dungeon, has glorious music and Gregory is coruscating in Dardanus’s aria of despair. Isménor arrives and advises invoking the god of love. Yet again, Gregory is impressive – as is the accompanying flute. Then Iphise arrives to rescue him and they squabble about who’s going to be most desolate should the other die, as fighting breaks out above-ground – excellent lighting again from Mark Howland. Anténor comes to die of wounds.

The ending, as peace breaks out, is celebrated with Venus (Penfold) abjuring them all to be happy, much washing-off of dirt and blood, and tidying up. The playing of The Old Street Band, conducted by Jonathan Williams, is delectable.