Some critics have labeled "The Magic Flute" Mozart's greatest work and the foundation of all German opera. Others see it as charming music with a hare-brained libretto with a hodge-podge of sophomoric symbolism. Opinions have been formed and reformed ever since 1791, as this granddaddy of most-performed operas continues to enthrall audiences.

That happened again as Opera San Jose began its run of the final opera of its 24th season with a completely rethought and lavishly staged production. There were a total of eight performances ending with a Sunday matinee on May 4. The concept which director Jose Maria Condemi brought to life was a mixture of Asian-Egyptian influences ranging from Japanese Noh-play touches to a bow to Lion King director Julie Taymor's giant puppets and masks. It all operated on several levels with an enthusiastic opening night audience appreciating the fine voices on display as much as the intricate staging effects.

The opera also is packed with the messages of love, harmony and liberal humanism in an era where most of the world was ruled by authoritarian despots. This message which Mozart and his librettist Emmanuel Schikaneder conveyed was a sincere expression of the tenets of Freemasonry, widely popular in Europe of the post French Revolution period.

Most adept at conveying those messages as Sarastro, the high priest, is Opera San Jose resident bass Carlos Aguilar, whose great stage presence and booming voice was coupled with a beard that resembled Niagara Falls.

The slightly jumbled plotline concerns a brave prince (Tamino) and his comic sidekick (Papageno) who go on a quest to rescue a beautiful princess (Pamina) at the urging of her mother (the duplicitous Queen of the Night). Their journey to Sarastro's temple leads to finding Pamina and the wisdom of the ages in that order. Magic flute and magic bells help them out of jams.

The delights with which this production is packed doesn't overshadow the singing which was at a high standard despite the large number of important roles. The vocalizing was in the original German with English supertitles. Instead of recitatives linking the arias in most opera, the plot was advanced by spoken English dialogue. And, yes, opera singers can act and articulate spoken lines quite well.

The principal leads in the opening night cast included resident tenor Isaac Hurtado as a serious, thoughtful Tamino. His warm mid-range tenor perfectly fit the part. Pamina was portrayed by Rochelle Bard, who possesses a buttery coloratura soprano voice. A guest artist from the Ukraine, Svetlana Nikitenko, sang the challenging role of the Queen of the Night and managed quite effectively to tame the high trills and runs. Papageno, decked out in feathers as the Queen's official bird catcher, was performed by Kenneth Mattice, resident baritone who has developed into a talented and athletic comic. He was in excellent voice and proved able to sing in any number of positions.

Another guest artist, former Opera San Jose mainstay bass-baritone, Clifton Romig, added substantial gravitas to a portrayal of The Speaker, Sarastro's key aide.

One of Freemasonry's symbolic elements is in the number three. The opera has three "ladies" who act on behalf of the Queen. The demanding roles were done well by Heather Clemens, Tori Grayum and resident mezzo Cybele Gouverneur. There are also three spirits whose high sopranos guided the wanderers. They included Melinda Becker, Alice N. Ko and Amber Patterson.

Set designer Erik Flatmo also pitched in with sets of three special doors, three side exits, and other threesomes all done in an elegantly subdued color palette.

The orchestra gave a strong performance under the vigorous baton of youthful Barnaby Palmer in his debut in the pit for the company. The alternate cast features Christopher Bengochea as Tamino, Daniel Cilli sings Papageno, Maria Alu is the Queen of the Night, and resident soprano Khori Dastoor sings Pamina.

Preceding the opening curtain, a rare on-stage appearance by company founder and general director Irene Dalis thanked the audience for the company's financially successful year. She also reminded everyone that the second annual Irene Dalis Vocal Competition is coming up May 31 at the California Theatre in downtown San Jose with nearly $50,000 in prizes for the winning singers.

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Mort Levine is founder and publisher

emeritus of Milpitas Post Newspapers.