THE TALE IS WELL-WORN. STAR-crossed lovers are separated by a king's fancy for the dame, jealous siblings and a vengeful significant other.

Yet far from being predictable and drab, the Boston Lyric Opera's production of Handel's "Xerxes" that debuted last week at the Emerson Majestic is light-hearted, enjoyable and, at times, even captivating.

"Xerxes" is highlighted by a top-rate cast that delivers Handel's arias elegantly and manages to blend the recitative with the solos, giving the opera a sense of consistency and continuity.

The action of the opera takes place in Persia, in front of the redbrick dwelling of Romilda (Amy Burton), the damsel who is in love with Arsamene (David Daniels), King Xerxes' (Lorraine Hunt) brother.

But Xerxes, who is also in search of love, chooses Romilda to be his bride. The matter is complicated by the appearance of Atalanta (Susannah Waters), Romilda's sister, who also loves Arsamene, and Amastre (Kitt Reuter-Foss), a princess--although she appears disguised as a man--that Xerxes had promised to marry.

Stephen Wadsworth's direction, as well as his translation and adaptation of the text, captures its comic wit and lends the story a sense of exuberance and farce that is sustained through the opera's three acts, complementing the singers' delivery.

Mezzo-soprano Hunt stands out in her lead role as Xerxes, the love-starved king, from the opera's very opening moments, when Xerxes professes his love for a tree. Hunt is ably backed up by her supporting cast, which includes noteworthy performances by Waters and Daniels.

John Atkins, in his role as Elviro, Arsamene's servant, provides comic relief in a subtle, yet outwardly funny manner. In one scene, Atkins appears disguised as a flower-girl, wearing a large, tire-shaped plant holder around his waist and singing about the many varieties of flowers he sells. And near the opera's end, when after the three-and-one-half hour performance audience members have begun to fidget in their seats, Elviro proclaims, "I am really exhausted."

The orchestra, led by conductor Craig Smith, plays the harpsichord-dominated melodies in a light, melodic style that pleasantly complements the performers.

The opera slows towards the end of its second act, as the blunders and misunderstandings among the young lovers begin to grow tiresome.

But even in its duller moments, interest in the opera is maintained through the sweetness of Handel's music, the majesty of the set design and the clever use of props by the actors--which in addition to Elviro's walking flower-bed includes several infants, two live dogs and a man who occasionally strolls through with a hanger full of pots and pans.

At its best, "Xerxes" showcases the Boston Lyric Opera's top-rate among an exquisite set, in a humorous and wholeheartedly enjoyable production.