The Makropoulos Case offers a fresh take on Janáček’s opera
The director Katie Mitchell has infused her frustration with opera’s entrenched misogyny into her interpretation of Leoš Janáček’s 1922 opera The Makropoulos Case, which explores the existential dilemmas of its protagonist, Emilia Marty. Emilia, a renowned singer who has lived for centuries due to a youth elixir, now confronts the expiration of its effects and the choice between life and death, reports BritPanorama.
Mitchell, declaring this production as her last amid dissatisfaction with the industry’s treatment of women, employs designer Vicki Mortimer’s innovative staging to reflect Emilia’s chaotic life. Set in various environments such as a foyer and bedroom, Emilia finds herself surrounded by men expressing their affection through aggression. This dynamic complicates her narrative, leading to a poignant reflection on her desire to escape these entanglements, raising questions about her identity and relationships.
Mitchell’s feminist reimagining of The Makropoulos Case succeeds in blending humour and deeper themes, though its ambitious narrative occasionally feels cluttered. The use of modern elements like text messaging between characters introduces a conspiracy subplot that captures the audience, although some aspects of the plot may overwhelm viewers.
While the opera’s structure remains intact, the addition of a murder subplot diverges from the original libretto and may cause confusion. Despite the opera’s brevity—spanning 100 minutes without an interval—its pacing may leave a protracted impression on audiences due to the density of its content.
Soprano Ausrine Stundyte delivers a powerful performance as Emilia, effectively conveying the character’s emotional depth. Her nuanced singing fills the production with layers of feeling, while the men’s roles are less developed, often depicted in a one-dimensional manner. Nevertheless, the vocal performances, particularly from Sean Pannikar as Albert Gregor, and Alan Oke as Count Hauk-Šendorf, are commendable.
Under the baton of the Royal Opera’s new music director Jakub Hruša, Janáček’s orchestration is vibrant, promising to mature further with future performances. Although the opening night revealed some orchestral textures in need of refinement, Hruša’s dynamic interpretation sets a strong foundation for the production.
Overall, The Makropoulos Case may not achieve immortality, but it certainly reclaims a vital place in modern opera, inviting audiences to ponder the weight of existence.
To 21 November
