The Magic Flute, LA Opera at the Dorothy Chandler Pavilion, Los Angeles, CAWeb: laopera.orgContact: customerservice@laopera.orgPlayers: James Conlon, conductor; Barrie Kosky, director; Suzanne Andrade, director; Craig Colclough (bass-baritone) as Sir John Falstaff; Sydney Mancasola (soprano) as Pamina; Kyle Miller (baritone) as Papageno; Miles Mykkanen (tenor) as Tamino; Aigul Khismatullina (soprano) as Queen of the Night); Kwangchul Youn (bass) as Sarastro; Zhengyi Bai (tenor) as Monostatos; Diana Newman (soprano) as First Lady; Katie Trigg (mezzo-soprano) as Second Lady; Meridian Prall (mezzo-soprano) as Third Lady; Emily Damasco (soprano) as Papagena

Mozart’s The Magic Flute is the most frequently performed German-language opera, thanks in part to the fact that it was a smash hit from its first performance in September 1791. That’s 235 years of this wonderful, fantastical piece of work wowing audiences around the world. 

The plot is relatively simple and fairy tale-esque. Prince Tamino is saved from a monster, after which he falls in love with Pamina, daughter of the Queen of the Night, after seeing her portrait. Hey, it was a different time. Said Queen has Tamino rescue Pamina from Sarastro, who we’re told is evil (but he isn’t really). Adventures happen and capers occur. 

Importantly, what we got at the LA Opera, the final show of the 2025/26 season, was not the traditional Magic Flute. Rather, the cast is dressed in ‘20s silent movie costume, and the set is largely animated. In other words, the performers are interacting, live and on stage, with cartoon cats, dogs, robots, etc. Notably, the Queen of the Night is a giant spider lady. It’s all visually dazzling.

The integral structure of the opera, including the plot, character development, and music, remains entirely intact. After over two centuries of traditional performances (and there will be more in the future), Mozart’s legacy and The Magic Flute in general can survive a madcap rendition. It looks incredible. Those costumes, including white mime face, are visually dazzling. The arachnid Queen of the Night is mind-blowing, while the Nosferatu-like Monostatos is the pantomime villain that we all need.

Two decades into his career with the LA Opera, James Conlon conducts the orchestra impeccably. We were lucky enough to be close enough to the orchestra pit to see him, and we conclude that he must be a joy to play for. Every movement, every facial expression, betrays his adoration for the music and the craft.

The most recognizable aria in this show is the Queen of the Night’s “Der Hölle Rache Kocht in Meinem Herzen” (Hell’s Vengeance Boils in My Heart), known to be one of the most difficult for a soprano due to the repetition. Aigul Khismatullina nailed it here, and brought a tear to many an eye while earning rapturous applause. But then, everyone involved did a stellar job.

Photos by Cory Weaver

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