Makropulos, adapted from Karel Čapek’s play, is rarely performed and widely regarded as one of the most demanding works in the operatic canon.
The opera is striking for its radical modernity, juxtaposing abrasive, near-cacophonous passages with moments of searing lyricism. Although a contemporary of Puccini and Strauss, Leoš Janáček sounds resolutely forward-looking here, his music complex, uncompromising, and unmistakably individual.
Earlier this season, Makropulos appeared at the Royal Ballet and Opera under Jakub Hrůša, in a new production by Katie Mitchell. That staging proved problematic: significant action was relegated to the extreme sides of the stage, leaving many audience members partially unsighted. The storyline was also altered to such a degree that following the plot became unnecessarily challenging.
By contrast, Sir Simon Rattle’s affinity with Janáček’s score is unmistakable. His reading brings clarity, coherence, and emotional intelligence to the dense musical textures, drawing inspired playing from the orchestra and committed performances from the soloists. The predominantly Czech cast—entirely at ease with Janáček’s distinctive speech rhythms—adds authenticity and textual precision, fully aligned with the composer’s intentions.
The Barbican website helpfully provides an animated guide to the opera’s complex narrative. Act I unfolds in a lawyer’s office, where a century-long lawsuit over Baron Prus’s estate pits the Prus and Gregor families against one another. The arrival of Emilia Marty, a celebrated opera singer with inexplicable knowledge of the case, propels the drama forward. She ultimately reveals herself as Elina Makropulos, aged 335, sustained by an elixir of life created by her alchemist father. As its effects fade, she seeks the long-hidden formula to avoid mortality.
The opera’s themes remain uncannily relevant. While modern celebrities pursue longevity through cosmetic and medical intervention, Elina Makropulos—also known as Emilia Marty and other incarnations sharing the initials “EM”—is exhausted by immortality. Beautiful, famous, and emotionally hollow, she is detached even from her own children. Janáček’s conclusion is stark: eternal life exacts an intolerable price.
Several directorial choices remain puzzling. Characters occasionally exit when they should remain, notably Krista’s absence when Marty hands her the formula for eternal life. In Janáček’s original, Krista destroys it; here, she simply takes it, leaving the outcome unresolved. It is also surprising that many singers—most experienced in these roles—relied on scores throughout the performance.
German soprano Marlis Petersen delivers a compelling Emilia Marty, gradually humanising a character initially cold and remote. The emotional toll of joyless immortality becomes increasingly palpable. Unfortunately, much of her nuanced acting was obscured for audience members seated opposite the main action.
The revelation that Albert Gregor is Marty’s son provides one of the opera’s most devastating moments. Czech tenor Aleš Briscein, sounding and appearing far younger than his 56 years, offers a powerful, emotionally charged performance. His clear, bright tenor shines in the extended Act I duet, and his commanding presence renders elaborate staging almost redundant. Despite his rarity on UK stages, he remains a consistently outstanding artist.
Czech baritone Svatopluk Sem brings a dark, burnished authority to Baron Prus, effectively counterbalancing Briscein. Czech soprano Doubravka Novotná lends Krista lyrical warmth and freshness. British tenor Peter Hoare (Vítek), Vít Nosek (Janek), and Alan Oke (Count Hauk-Šendorf) are well cast in supporting roles, with Oke especially affecting as he recognises Marty as a long-lost lover. Czech bass Jan Martiník shows promise, though his focus falters, while Czech mezzo Lucie Hilscherová makes a striking impression in a small role, suggesting a career to watch.
A thrilling night at the Barbican. Czechia remains richly endowed with exceptional singers rarely heard in the UK, making this Janáček rarity well worth catching—especially with only one performance remaining.
Concert Performance London Symphony Orchestra
Music by Leoš Janáček (1854-1928)
Libretto – adapted from the play by Karol Čapek
Conducted by Sir Simon Rattle
First performance 21st November 1922 Vinohrady Theatre, Prague.
Cast includes Marlis Petersen, Aleš Briscein, Jan Martinik, Peter Hoare, Svatopluk Sem, Doubravka Novotnà, Lucie Hilscherovà.
Running time 2 hours without interval.
Photo Credit Mark Allan
13th January 2026