Mozart's final opera is a bewildering hybrid of buffoonery, magic, mysticism, and the solemnity of Masonic ritual. The work has provoked controversy ever since its Vienna premiere on September 30,1791, less than three months before the great composer's untimely death.

Opera North's General Director, Richard Mantle, in his thoughtful programme note, describes The Magic Flute' as, an unstable opera, full of contradictions and ambiguities'.

Mantle puts into a nutshell the immense challenge of producing and staging this most complex of works: how to convey its restless energy and mould the divergent elements into a satisfying whole.

Tim Supple's contemporary interpretation for Opera North, originally staged in 2003, succeeds with this relevant, feel-good production that unashamedly celebrates diversity - and is all the better for so doing. The most refreshing aspect is the multi-cultural casting of principal roles.

It was very good to hear a City Councillor, whom I know, asking for the black singers to visit the Chapeltown community and give kids there an opportunity to come into contact with some different role models.

Among an excellent cast I must mention Chester Patton's imposing presence and rich bass voice, as Sarasto; Keel Watson (a member of the original 2003 cast) in sonorous voice as the Speaker and Gweneth-Anne Jeffers as a voluptuous Second Lady. Penelope Randall-Davis successfully negotiates the Queen of the Night's vocal high wire act. Noriko Urata is an appealing and creamy-voiced Pamina and Ed Lyons' pleasing lyric tenor is well suited to the role of Prince Tamino.

Roderick Williams triumphs as the guileless bird catcher Papageno. Williams' subtly-shaded and burnished tone, allied to an engaging stage presence, make this versatile baritone one of today's most exciting young singers.

Jean Kalman's scenery and mood-shifting lighting sets the atmosphere. Tom Pye's costumes are an intriguing mixture of label and couture with a dash of commedia dell'arte but Tamino looks as if he has been dressed from Gap's clearance rail.

The performance is rapturously sung and the orchestral playing beautifully detailed.

Further performances are at Leeds Grand Theatre on January 25 and 27 and February 13 and 15.