![]() Pamina (Ying Fang) is loved by Tamino but on the run from bad guy Monostatos (Brenton Ryan).Ĭurrently on the boards is “The Magic Flute” in a now famously brash Barrie Kosky/Suzanne Andrade production that has been around since 2013 and seen in Berlin, Paris, Los Angeles, New York and other capitals. (Even the quack doctor Dulcamara, that braggadocious peddler of “wondrous” elixir cure-alls, arrived well distanced, in a hot air balloon.) One could easily imagine spreading fewer singers along the pews, or moving the patio tables farther apart, should greater prudence be required. “The Elixir of Love” played out on a bistro’s patio, among portable tables and chairs. “Macbeth” was set entirely within the walls of an ancient Scottish chapel. The bones of the shows changed very little from act to act. ![]() In unexpected styles, each has been serendipitously accoutered with nifty safeguards, should Covid linger. Yet this season at Lyric, with cleverness born of necessity, not one of these familiar shows has been given traditionally. Verdi’s take on Shakespeare’s “Macbeth,” Donizetti’s romantic comedy “The Elixir of Love” and now Mozart’s fairy tale “The Magic Flute” are no strangers to the opera docket. ![]() For the third time this fall, Lyric Opera of Chicago has given its audience a production to talk about. ![]()
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