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The Makropulos Case

OPERA IN THREE ACTS

Cast sheet

Friday 7 November 2025

|

8pm

The 2nd performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

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

The words Rolex in green capital letters with a gold crown sitting above the words

Approximate timings

The performances lasts approximately 1 hour 35 minutes without an interval
Credits

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

Cast

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

Jingwen Cai is a Jette Parker Artist
Chorus and Orchestra

Chorus

Royal Opera Chorus

Chorus Director

William Spaulding

Orchestra

Orchestra of the Royal Opera House

Concert Master

Sergey Levitin

Production credits

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...

ACT I


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.

ACT II


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.

ACT III


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.

Guidance
Suitable for ages 16+
This production contains depictions of Class A drug use, cardiac arrest and a gunshot in Act II. There are scenes of an intimate nature, including depictions of sex and non-consensual sexual activity. There are references to suicide and explicit language within the set design.
Language
Sung in Czech with English surtitles, which are displayed on screens above the stage and around the auditorium.
Further information

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.

Read more: Set designer Vicki Mortimer speaks about the production design for The Makropulos Case.

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We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria.

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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