Move over, Harry Potter. You may be king of Quidditch, but Leon Natker has the better broom when he soars in Lyric Opera San Diego’s production of Engelbert Humperdinck’s beloved opera, “Hansel and Gretel,” playing at Birch North Park Theatre through Nov. 22. That’s right. As the nasty Witch who bakes children into outsize gingerbread cookies, Natker flies — with an assist from Flying by Foy — and he loves it. Everything about his portrayal is gleeful. He’s funny without being too frightening for the little ones who see the show. His grotesque nose and chin, which almost meet, resemble the Arthur Rackham drawing of 1909, and his body — forever enshrined in life-size gingerbread at the tale’s denouement when the witch, outwitted by the children, is baked in her own oven — is a miracle of engineering. The under-sung, under-praised Pam Stompoly-Ericson, who has been a member of Lyric Opera San Diego “since the beginning of time,” deserves the Grail of Grimm for her creation of Natker’s costume, visage and makeup. In addition to staging the traditional holiday work, artistic director J. Sherwood Montgomery is credited with scenic design. The translucent drops and backdrops are worthy of Rackham as well. Beautifully lighted by Matthew Novotny, the forest scene changes from late afternoon to encroaching night; however, one questions the flying snowflakes during the overture and whatever extraterrestrial gobo special appeared during the Angels’ ballet. The Witch’s sweet house with its gingerbread fence may not be innovative, but her bake-house, topped with a giant, foil-wrapped Kiss, is a glory to behold and especially fun when it belches smoke. Delightful as well are Hansel (darling, boyish, vocally admirable mezzo-soprano Hai-Ting Chinn) and Gretel (soprano Kate Oberjat), respectively clad in lederhosen and traditional peasant attire. Their blend on “Evening Prayer (Abendsegen)” and elsewhere is lovely. Strapping, bright-voiced baritone Scott Gregory returns to Lyric Opera San Diego to sing the role of Peter, the children’s father, a broom-maker. His diction and acting are impeccable. Peter’s wrath, when the children turn up missing after Mother (soprano Pamela Porter Arnold) thoughtlessly sends them into the woods to pick strawberries, is mild compared to some interpretations. Boy soprano Max Oilman-Williams’ (he alternates with Spike Sommers) Sandman is adorable, as is Caroline Nelms’ Dew Fairy. The usual complaint is true here: men’s diction (Natker and Gregory) is clearly understood; diction of mezzo sopranos is about 60 percent decipherable; and diction of high and treble voices is, well, forget about it. However, do take the children to this melodically beautiful opera. It’s a grand introduction to the art form, filled in this case with children from Lyric Opera Academy, who portray Animals, Angels and Gingerbread cookies. Humperdinck was influenced by the music of Richard Wagner, whom he knew and assisted. Wagner fans with motif memory hear allusions to Faffner and the Flying Dutchman and take pleasure in Humperdinck’s lush orchestrations, remarkably played by the Lyric Opera orchestra under the baton of Kelly Kuo.  Remaining performances take place at 7:30 p.m. Thursday and Saturday (Nov. 19 and 21) and 2:30 p.m. Sunday, Nov. 22. For tickets ($32-$52, children under 17 half price), call (619) 239-8836.  Stage Note: William Shakespeare’s “The Two Gentlemen of Verona,” as adapted by UCSD professor James Winker and staged by the Old Globe’s Richard Seer, continues through Sunday only in a bright and colorful production featuring the work of scenic designer Sean Fanning and costume designer Michelle Hunt Souza. Andrew Dahl, Catherine Gowl, Jordan McArthur and Aubrey Saverino head the company of USD/Old Globe MFA actors. Kevin Hoffmann and Andrew Hutcheson play servants Speed and Launce. Performance times:  8 p.m. Thursday, Nov. 19 and Friday, Nov. 20, 2 and 8 p.m. Saturday, Nov. 21 and 2 and 7 p.m. Sunday, Nov. 22 at the Globe’s Arena Stage in Balboa Park. For tickets and information, call (619) 234-5623.