‘Magic Flute’ charming and imaginative, but perhaps too clever

Brimming with wit, magic and the humanistic ideals of virtue, hope and love, “The Magic Flute” has occupied a unique and beloved place in the hearts of operatic audiences old and young since its Vienna premiere 225 years ago.

Much of the beauty and charm of Wolfgang Amadeus Mozart’s masterwork shines through in Lyric Opera of Chicago’s new production, which runs for nine more performances through Jan. 27. But is this undeniably imaginative conception too clever for its own good?

Australian director Neil Armfield, who has staged two previous Lyric offerings, including “A Midsummer Night’s Dream” in 2010-11, has set this interpretation in an Austrian expatriate enclave in an idealized 1960s “Leave it to Beaver” vision of suburban Oak Park, Ill.

In this conceit, the neighborhood children mount “The Magic Flute” with the help, obviously, of some first-rate professional singers who just happen to be around, and dozens of parents sit on lawn chairs in the back yard to take it all in.

What results is a kind of opera within an opera, with the action taking place around an amazingly realistic two-story house, which rotates on a massive stage turntable and is set against a striking, star-specked night sky. (Dale Ferguson served as designer for both the sets and costumes, which are a combination of picture-perfect 1960s middle-class apparel for the residents and suitably fantastical garb for the opera’s characters.)

It must be said that Armfield admirably carries through his concept, and there are some no doubt appealing moments, such as a dozen children in adorable Halloween-like costumes portraying a group of animals in Act 1. And, of course, the three mysterious boy genii who usually seem other-worldly come across as perfectly natural here.

That said, it’s not hard to see this production as directorial over-reach. In many ways, the staging distances audiences from the story rather than bringing them closer. Instead of having to wrap their imaginations around one fantasy, here they suddenly have to contend with two.

An extraordinary amount of effort was made to construct this suburban idyll, yet the action often takes place – both conceptually and physically – despite the house rather than in harmony with it. At one point in the first scene, for example, the singers are constrained to just a 10-foot-wide patio because the rest of the stage is filled with onlookers and backyard set pieces.

The bottom line is that “The Magic Flute” functions just fine on its own. It’s hard not wonder what might have happened if the artistic team had channeled their obvious creativity into a more direct, less needlessly complicated realization of this fantasy.

Any reservations about the staging, though, were offset by Lyric’s fine chorus and the first-rate cast. The clear stand-out was soprano Christiane Karg, a true Mozartean who lights up the role of Pamina with her vibrant stage presence and a radiant, agile voice that is richly dimensional from top to the bottom.

Some of the production’s most memorable moments are Pamina’s interchanges with birdcatcher Papegano, especially their touching reflections on love in an Act 1 duet. Singing with admirable clarity and resonance, bass-baritone Adam Plachetka brings both comedic flair and empathetic humanity to the role of the loveable simpleton.

Although his acting seems a bit restrained at times, tenor Andrew Staples acquits himself well overall in his Lyric debut as Tamino, the prince who endures a series of trials to free the imprisoned Pamina. Especially striking is the floating, sweet-tinged timbre of his upper register.

Christof Fischesser makes a strong Lyric debut as Sarastro, ably handling the character’s unsually low notes with his powerful, deep-hued bass. Also making her Lyric debut as the Queen of the Night is soprano Kathryn Lewek, who nimbly handles the role’s soaring coloratura demands but sounds a little under-powered at times.

Also deserving mention are tenor Rodell Rosel, a Ryan Opera Center alumnus who offers an exuberant comic turn worthy of Mel Brooks as the jailer, Monostatos, and the three boy singers – Asher Alcantara, Casey Lyons and Parker Scribner. They portray the genii with pitch-perfect intonation and unflappable composure.

Lyric’s pit orchestra bring Mozart’s beloved score buoyantly to life under the sensitive baton of Rory MacDonald, who makes sure the action and energy never flag.

Kyle MacMillan is a local freelance writer.