Silent-film hijinks, Gothic fantasy, and Mozart’s immortal music combine in a dazzling sendoff for Music Director James Conlon at the Dorothy Chandler Pavilion.
By John Lavitt
Los Angeles, CA (The Hollywood Times) 06-06-2026
As he concludes a remarkable era at LA Opera, James Conlon could not have chosen a more fitting farewell than Mozart’s The Magic Flute. Joyful, inventive, and visually unlike any other opera in the repertory, this beloved production transforms Mozart’s timeless fairy tale into a darkly comic adventure where silent-film antics, projected animation, and operatic grandeur coexist in perfect harmony.
Created by the British theater company 1927, the production remains one of the most distinctive in LA Opera’s repertoire. Drawing on the visual language of silent cinema, the staging surrounds the performers with elaborate animated projections that constantly blur the line between film and live theater. The result often feels like a collision of Mozart, Buster Keaton, and Beetlejuice, with a touch of Charles Addams lurking in the shadows.
Remarkably, the concept never feels gimmicky. Instead, the visual invention enhances the storytelling, offering an accessible gateway into Mozart’s world while preserving the work’s emotional and musical integrity. Longtime opera lovers will appreciate the staging’s ingenuity, while newcomers may discover that opera can be every bit as entertaining, imaginative, and visually dynamic as any modern theatrical experience.
From the opening moments of The Magic Flute, Conlon leads the LA Opera Orchestra with characteristic elegance and energy. The music sparkles throughout the evening, reminding the audience why Mozart’s final operatic masterpiece remains among the most beloved works ever written. At the same time, the performance underscores Conlon’s extraordinary contribution to Los Angeles’s cultural life. Rather than feeling like a nostalgic farewell, the evening radiates vitality and joy.
Miles Mykkanen makes an impressive company debut as Prince Tamino, bringing both vocal power and sincerity to the role. Sydney Mancasola delivers a luminous Pamina, whose warmth and emotional honesty provide the opera’s beating heart. Together, they navigate the opera’s fantastical journey with grace and conviction.
In addition, Kyle Miller nearly steals the evening as Papageno. Endlessly charming and blessed with impeccable comic timing, he embraces every opportunity for laughter without sacrificing the character’s essential humanity. His scenes consistently generate some of the evening’s biggest smiles, and his lovable roguishness provides the perfect counterbalance to the opera’s grander themes of love, wisdom, and destiny.
Meanwhile, Aigul Khismatullina conquers the Queen of the Night’s notoriously demanding arias with thrilling precision and dramatic authority, while Kwangchul Youn brings wisdom, dignity, and commanding presence to Sarastro. Throughout the cast, vocal excellence is matched by a commitment to fully embrace the production’s physical comedy and visual demands.
At a time when performing arts organizations continue to seek ways to engage new audiences, The Magic Flute offers a compelling answer. By pairing Mozart’s immortal music with visual imagination worthy of the silent-film era, LA Opera has created a production that feels both timeless and strikingly contemporary.
As James Conlon takes his final bow as Music Director, he leaves the audience with the kind of memory that has defined his tenure: world-class music-making presented with intelligence, imagination, and heart. It is a magical farewell befitting a Los Angeles legend.
