
Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing Trust
Generous philanthropic support from Crevan O’Grady and Jane McClenahan, Susan and John Singer, The Thompson Family Charitable Trust, The Maestro Circle and The Aria Circle
The role of Janek is generously supported by The Kiri Te Kanawa Foundation (UK)
With kind support from The Czech Centre, London
In partnership with Rolex, Principal Partner, The Royal Opera

Music
Leoš Janáček
Libretto
after the play by Karel Čapek
Leoš Janáček
New critical edition by
Jiři Zahrádka
Performed by arrangement with Universal Edition A.G. Wien
Conductor
Jakub Hrůša
Director
Katie Mitchell
Set Designer
Vicki Mortimer
Costume Designer
Sussie Juhlin-Wallén
Lighting Designer
James Farncombe
Video Designer
Sasha Balmazi-Owen
Emilia Marty
Ausrine Stundyte
Krista
Heather Engebretson
Albert Gregor
Sean Panikkar
Baron Jaroslav Prus
Johan Reuter
Dr Kolenatý
Henry Waddington
Vítek
Peter Hoare
Count Hauk-Šendorf
Alan Oke
Janek
Daniel Matoušek
Stage door woman
Susan Bickley
Security guard
Jeremy White
Hotel Maid
Jingwen Cai
Actors
Alex Gotch, Alex Kristoffy, Sarah Northgraves, Carlo Pavan, Charlie Venables
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding
Orchestra
Orchestra of the Royal Opera House
Concert Master
Sergey Levitin
Music preparation
Nick Fletcher, Patrick Milne, Lada Valešová, Christopher Willis
Associate Set Designer
Helen Herbert
Associate Director
Dan Ayling
Assistant Director
Eloise Lally
Writer
Lucy Wadham
Intimacy and Movement Director
Ita O'Brien
Fight Directors
Uth Cooper-Brown and Rachel Bown-Williams of RC-Annie
Fight and Intimacy Captain
Alex Gotch
Medical Advisor
Dr Arun Menon
Language Coach
Lada Valešová
It is mid-afternoon at a hotel in Prague, where famous opera singer Emilia Marty has arranged to meet a young woman...
It is mid-afternoon at a hotel in Prague, where famous opera singer Emilia Marty has arranged to meet a young woman, Krista, in her room. In the hotel lobby, Vítek, a law clerk and father to Krista, awaits lawyer Dr Kolenatý and his and Dr Kolenatý’s client, Albert Gregor. They have arrived to settle a centuries-old inheritance case between the Gregor and Prus families. After she and Krista sleep together, Marty heads to the lobby to meet the men, leaving Krista behind.
Dr Kolenatý outlines the case at length to Marty, who reveals an uncanny knowledge of past events concerning Ellian MacGregor, the mistress of Baron Joseph Ferdinand Prus – the man whose unclear will has initiated the inheritance case. Together, Ellian MacGregor and Baron Joseph Ferdinand Prus had an illegitimate son Ferdinand, whose youngest descendent is Albert Gregor. Marty insists that a valid will exists, and that it will be found in a certain drawer of the Baron’s desk. With much to gain against his opponent Jaroslav Prus, descendent of Baron Joseph Ferdinand Prus, in locating the will, Gregor demands that Dr Kolenatý search for it. Dr Kolenatý leaves to find thevwill while Marty rejects Gregor’s advances, asking him insteadvto locate an old document, written in Greek, that she hopes will be found with the will.
Alone in Marty’s room, Krista searches Marty’s belongings for valuable possessions she and her boyfriend Janek, son of Jaroslav Prus, can sell for cash. Dr Kolenatý and Vítek return with the will, together with Prus and Janek. Disappointed that they have not brought the Greek document, Marty returns to her room.
That evening, following a performance at the opera house, Marty returns to her dressing room where Krista is waiting for her. They embrace before Marty leaves to greet her admirers. Janek finds Krista in Marty’s dressing room and tries to kiss her but, in love with Marty now, she ends her relationship with Janek. Marty returns and is greeted by Prus, then Gregor, who arrives bearing flowers. The men, Janek included, are infatuated with Marty, who remains indifferent. Marty notices her stolen medallion in Krista’s bag and realises she has been deceived.
Count Hauk-Šendorf arrives at the stage door and Marty greets him. Their conversation is cold, until he remarks on Marty’s resemblance to his former mistress Eugenia Montez. To this she responds with surprising warmth.
In the dressing room, Krista discovers a photo album that details Marty’s true identity. She reveals her discovery to Marty. Krista and Janek argue and he angrily departs. Prus enters, challenging Marty on her knowledge of the inheritance case. He disparages Ellian MacGregor, whose salacious letters to Baron Joseph Ferdinand Prus he has discovered, seemingly offending Marty. When he mentions the name Elina Makropulos, she is startled. Prus leaves when Marty offers to buy the old Greek document she believes is attached to the will.
Gregor enters, repeatedly declaring his love for Marty who rebuffs him. Janek returns and Marty asks him to retrieve the old Greek document. Prus interrupts their exchange, dismissing his son. He agrees to bring Marty the Greek document if she will meet him that night and sleep with him. She accepts. Krista returns and she and Marty passionately embrace. Janek discovers them and Krista, startled, draws a gun on him.
Later that night, back in her hotel room, Marty finishes having sex with Prus. He claims she is cold and unfeeling. Marty asks for the old Greek document which Prus gives her. The hotel maid arrives with news that Janek is dead. Hauk-Šendorf interrupts and announces he has left his wife for Marty. Marty rejects him.
After Dr Kolenatý, Gregor, Vítek and Prus arrive demanding answers, Marty tells her story. She was born Elina Makropulos in 1585 to the alchemist at the court of Rudolf II. Her father invented an elixir to prolong life and tested it on her. She has lived for hundreds of years and has changed her name many times, but has always kept the initials E.M. Though she needs the formula listed in the old Greek document to stay alive, she concludes that immortality has brought her nothing but sadness and disillusionment. Marty offers the formula to Krista, before finally dying.
The creative team of The Makropulos Case has engaged with a range of sustainability questions across the production’s design and construction. Within both set and costume, low-impact sourcing, reuse and recycling have been brought into a closer dialogue with creative decision-making, resulting in noticeably improved material and carbon savings, and suggesting renewed creative questions about where the large-scale opera genre meets progress towards net zero.
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