In its first-ever staging with The Royal Opera, Janáček’s haunting and enigmatic masterpiece is reimagined through a contemporary lens by Katie Mitchell (Theodora, Lucia di Lammermoor), who explores what it means to love, and at what cost. Ausrine Stundyte makes a welcome return to the house to sing the mysterious Emilia Marty, whose immortality is both a gift and a curse. Music Director of The Royal Opera Jakub Hrůša conducts.

Contemporary Soundscapes

Composed between 1923 and 1925, The Makropulos Case (or The Makropulos Affair) is characterised by its unique, modernist musical style that aligns closely with the opera’s dark and philosophical themes. Janáček’s score employs short and repetitive motifs that mirror the psychological tension and emotional complexity of the opera’s characters. Marked by sharp contrasts, rhythmic irregularities and unexpected harmonies, the music creates a soundscape that feels both unsettling and captivating – a synthesis that defines the mysterious character of Emilia Marty. Janáček’s innovative use of speech melodies – melodic lines that mimic the natural inflections of spoken language – contribute to the opera’s intense realism, making the emotions of each character feel vivid and immediate. Speech melody can be found in much of Janáček’s other operas, including his earlier-composed Jenůfa.