There’s an interesting double journey in this new staging of Mozart’s luminous opera-panto: as humanity moves towards light and reconciliation, so the show’s director throws off his well-publicised prejudices about opera and begins to get the point. I don’t want to be mean about Simon McBurney, a rare theatrical genius and a man the opera world has been trying to get its hands on for years. But if he went back to the beginning of Act I and started all over again, knowing what he knows now, things would certainly turn out rather different.Because Act I is really a mess, not unusual when a theatre director takes on opera for the first time (actually it’s McBurney’s second effort, but the first with a classic piece). They read the words, and do not hear th