DETROIT, Mich.–There is a reason why The Magic Flute is a seat-filler and crowd pleaser for opera companies. The fairy tale opera written by Mozart is a hoot, and is not only an opera you can bring the kids to, there are kids in the cast.

In fact, the whole festive, colorful production at the Michigan Opera Theatre, almost feels like an opera that Mozart might have written in answer to a commission by Walt Disney.

The story follows Prince Tamino and his comical sidekick Papageno, a bird catcher, on a musical quest to save the beautiful Pamina from the forces of evil. Am I the only one who thinks that Frank Baum might have been influenced by The Magic Flute when he wrote The Wizard of Oz?

The story is an allegory, written in the Age of Enlightenment, and depicts the clashing philosophies–absolute enlightenment versus the traditions of the Catholic Church (the serpent is dead in the opening scene). Both Mozart, and his friend, Emanuel Schikaneder, who wrote the book, were Free Masons, and there are many symbols and themes common to Free Masonry. It was not a popular opera with strict Catholics of the late 1700s.

Though written in German, this production is both sung and spoken in English. That certainly makes it more accessible to American audiences, especially kids, but this opera is one of those where the original German with English translation might be preferable. The English feels flat and not so magical.

The MOT cast for Flute more than lives up to Mozart’s expectations. Canadian bass-baritone Gordon Binter is a delight as bird-catcher Papageno who wears the bird costume throughout the story. His character, in fact, carries the heaviest comedic load, and Binter seems born for the role, with ebullient stage energy and solid vocals. There was drama behind the scenes before opening night. Soprano Christina Poulitsi who was to play the critical Queen of the Night was stricken ill two days before opening, and So Young Park was flown in from St. Louis to step in. Park has two of the most critical, and difficult, arias in the opera, and she floated them with dreamy, wonderful resonance that drew a huge and much deserved ovation at the curtain. Park demonstrates her tremendous artistry at the upper range, but also delivers wonderfully at the lower notes that can elude some Queens of the Night who tend to be hired specifically for their ability to nail the staccato singing necessary at the high C’s and then quickly ascend to high F. Park, who presumably only had one rehearsal, seemed to miss a piece of blocking, but all is forgiven.

American tenor Joshua Dennis, as Tamino, and Spanish soprano Sylvia Schwartz as Pamina are certainly professional, but perhaps lacked some of the chemistry to make us think they were really in love. Schwartz particularly came alive in the second act in a solo that showed off her wonderful upper range and ability to float her notes.

A special note of congratulations to the Three Ladies, who were extremely well-cast, and sang and acted beautifully together as a unit. The trio, which has important recurring scenes critical to the comedic narrative, features MOT regular ensemble and Comprimario performer Diane Schof who stepped out of the background and into a featured role, and more than made the most of her opportunity. Bravo!

The sets were taken from the Lyric Opera of Chicago’s production. They are lavish and fun, though at times the scenes and sets seem a bit stuck together, and some of the flow of the complex fairy tale can be hard to track if seeing the opera for the first time. Especially fun is a stone lion that can move its tail and dispense wine, and a slide built into one of the set pieces that is used by the children portraying birds in the ensemble at the end of the opera.

Bottom line: The Magic Flute is a delightful production and a terrific experience for the whole family.