For the newcomer, Wagner’s Ring is a tough nut to crack: for the opera company, there is the colossal expense; for the opera-goer, there are mystiques to fathom.

So Opera North faces a dilemma: long stretches of concert performance might lack allure, whereas a full-blown production would be financially unfeasible.

The resulting compromise, masterminded by Peter Mumford, treads the fine line between the two extremes quite brilliantly.

Mumford directs the staging, having designed the lighting and photographed the material projected onto screens in front of the organ. These show running water or mist creeping over mountains, along with impressionistic images: shades of gleaming gold for the bridge to Valhalla, for example.

Superimposed on them are occasional pithy narratives, complementing the side-screens translating the libretto.

Richard Farnes’s much-expanded orchestra climbs the risers beneath the back-screens, while the soloists sit behind him. Remarkably this does nothing to disturb the fine balance between singers and players.

Shades of formal dress are the order of the day. There are no props. Ring and helmet have to be imagined through evocative gestures. There is even occasional physical contact, as when Wotan forces the ring off Alberich’s finger.

A cast of uniformly high quality sings from memory. Michael Druiett’s towering Wotan leads from the front, vacillating when under threat but regaining authority with Freia’s recovery. He is attended by Derek Welton’s impetuous Donner and Peter Wedd’s more lyrical Froh, nicely contrasted, with Yvonne Howard his elegant, solicitous Fricka.

Wolfgang Ablinger-Sperrhacke brings several touches of light humour to his engaging, if mildly camp, Loge, smirking or fluttering his fingers dismissively at the Rhinemaidens. This flighty trio - Jenni Bern, Jennifer Johnston and Sarah Castle - sets the bar high at the start, finding a keen blend.

They are matched in intensity by James Cresswell and Gregory Frank as the giants, the one commanding, the other phlegmatic. Nicholas Folwell delivers a slippery Alberich, carefully worked, with Richard Roberts a vivid Mime. Andrea Baker shows great presence as Erda. Giselle Allen’s fretful Freia completes this excellent team.

Richard Farnes has the orchestra in the palm of his hand. Leisurely through the prelude and opening scene, he gradually moves through the gears, coaxing his brass to new heights with succeeding climaxes. They respond majestically.

The orchestra’s composure is not the least undermined by the addition of so many supernumeraries. As a concert introduction to the cycle, this production could hardly be bettered.

Further performances in Leeds on July 1 and September 8, and on tour.