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The Makropulos Case

OPERA IN THREE ACTS

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.

Approximate Timings

The performances lasts approximately 1 hour 35 minutes without an interval


Credits

  • Music

    Leoš Janáček

  • Libretto

    Leoš Janáček

    after the play by Karel Čapek

  • 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

Synopsis

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.

Generous support from

Further information

Note on the Production

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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Digital Cast Sheets

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Guidelines

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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