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Among the dozen revivals planned for the season are Verdi’s “Rigoletto” and “Il Trovatore,” Puccini’s “Tosca” and “La Bohème,” and Offenbach’s “Les Contes d’Hoffmann,” as well as two versions of Mozart’s “The Magic Flute”: the full-length, original in German, directed by Simon McBurney, and a one-act, English adaptation that has become a holiday staple at the Met.

But also, as the soprano Kathryn Lewek told me before her last performance in the Met’s recent run of Mozart’s “Magic Flute,” the goal was not to shame or remove certain administrators or directors.

If viewers can focus on its engaging young cast, vivid appearances by several international opera stars and well-executed melding of reality and fantasy, “The Magic Flute,” the latest film adaptation of Mozart’s famed opera, should prove a buoyant and enjoyable musical journey.

In the machine that is the Met’s abridged holiday presentation of Mozart’s “The Magic Flute,” the baritone Benjamin Taylor, the second-cast Papageno, was the highlight on Dec. 28, his voice compact yet resonant, his charisma easygoing without being cloying.

Granted, it was top-drawer Mozart: the Overture to “The Magic Flute,” the Piano Concerto No. 23 in A major, and for me at least, the greatest symphony of all, the Symphony No. 40 in G minor.