A shimmering black curtain reflects the audience as the prelude begins. Imperceptibly it becomes apparent that it is no longer us that we see, but a group of men and women onstage who could easily be the audience. The men shed their jackets and ties and separate from the women to form the Knights of the Grail in a circle to the right, while the women are relegated to the left. A fissure forms from backstage to front symbolising the separation between the men and the women. Even Kundry is not allowed to cross this line in the first act.

Thus begins François Girard's highly charged, visually arresting yet often quirky production of Parsifal for Opéra de Lyon, a co-production with the Metropolitan Opera and the Canadian Opera Company. Its success lies in its ability to match compelling visual images with a musical interpretation of the highest order. If there are weaknesses it is that Girard adds complexity where simplicity would suffice and occasionally overplays symbolism when the point has been made by the music. It is nevertheless a compelling evening of music theatre.

Michael Levine's sets place the first and third acts on a highly raked stage that has the feel of a surreal, parched landscape. Mood is further added by Peter Flaherty's video projections to the rear of the stage, initially brooding clouds, giving way to celestial images during the transformation scenes. The feeling is one of desolation, despair and segregation - it is a world where little grows with no spring flowers evident in the third act Good Friday scene.

There are no flowers either in Klingsor's magic kingdom, although this act is a theatrical tour-de-force with giant, overbearing rock walls enclosing a shallow lake tainted heavily with blood, in which most of the action takes place. It is beautifully lit by David Finn. Klingsor's flower maidens are on guard with their spears and remain on stage throughout the act, their virginal white dresses becoming stained with blood as the seduction of Parsifal intensifies. As Kundry joins them a bed is brought on stage as a rather obvious symbol of her intentions. It is perhaps here that Girard's predilection of using extras is least convincing, talking away from the pivotal encounter between Kundry and Parsifal.

Girard takes a decidedly Buddhist view of the religious niceties of the work. His most interesting decision is to bring women onstage - they are outcast and segregated from the men during the prelude although they remain omnipresent throughout, either as enforced widows while their husbands take up monastic life, or as evil and lustful temptresses in the second act. Harmony is restored as Parsifal returns as a Ghandi like figure bringing life back to the Brotherhood through the healing of Amfortas, and also restoring the normal relationship between men and women. There is even the suggestion of a wife for Parsifal at the end.

With so much happening onstage it might be easy for the musical side of the performance to become secondary, but this is far from the case. Kasushi Ono leads the Opéra de Lyon Orchestra in a vibrant reading of the score that blends orchestral majesty with subtle nuances, drawing meaning and depth from every corner of the score. Ono's ability to squeeze tension out of the many silences is particularly praiseworthy. If there is a lack of incandescence at the end of the long evening this does not detract from the overall musical excellence of the performance.

Opéra de Lyon has assembled a well nigh ideal cast for the performance. Nikolai Schukoff convinces both as the boyish Parsifal in the first act and the enlightened one, with shaved head, at the end of the opera. He has a bright ringing voice that projects easily and rises to the climaxes with a ringing tone that never loses its quality. His interpretation perhaps requires a little more in terms of depth and variety, but this is still a very accomplished performance.

Kundry is one of those characters that require a performer who has both strong acting and singing skills and Elena Zhidkova fits the bill in both respects. While her voice is placed firmly in the mezzo register she has no problems in rising to the angry outbursts with Parsifal in the second act.

As the wise old knight Gurnemanz Georg Zeppenfeld gives the stand out performance of the evening. With perfect diction he is able to caress the text with his beautiful baritone voice in a way that combines compassion and nobility, bringing out a true understanding of this important character. Gerd Grochowski is a suitably anguished Amfortas, while Alejandro Mraco-Buhrmester is all evil as Klingsor taking full advantage of the spectacular staging of his scene at the beginning of the second act.

The smaller roles are all strongly performed and the men's chorus impresses when it finally gets the chance to sing at the end of the first act, having been onstage since the prelude.

This Parsifal is both traditional and contemporary, offering new insights into a work that has received many interpretations. It will be interesting to see how Met audiences react to it in February 2013 when it transfers there and also by audiences around the world when it forms part of the 2012-13 Live in HD Season. It deserves attention.