The Makropulos Case at Royal Opera: A retort to 'endemic misogyny' in opera

The Makropulos Case at Royal Opera: A Feminist Retelling

Katie Mitchell has concluded her career in opera production with a bold feminist interpretation of Janáček’s The Makropulos Case. This opera, known for its themes of elixirs, divas, and femmes fatales, presents a protagonist who has lived for centuries after receiving a life-extending potion from her father, the Emperor’s physician. In this updated production, the singer’s lifespan is extended to 400 years.

Mitchell's Critique of Opera's Gender Bias

Mitchell recently announced her retirement, citing the opera world’s endemic misogyny. While her critique primarily targets theatrical practices, it also challenges the typical sexist narratives found in many operatic works.

A Feminist Adaptation by Mitchell and Wadham

For her final production, Mitchell collaborated with writer Lucy Wadham to create a clearly feminist version of The Makropulos Case. This adaptation addresses a long-standing question for Mitchell: why would the central character Emilia pass her extraordinary gift to a near stranger?

“Katie Mitchell, who last week announced she was retiring from opera production on the grounds of its endemic misogyny – her accusation was levelled at the theatrical industry, but can perhaps be read, more broadly, as a condemnation of stereotypically sexist operatic plots.”
“The stranger, Kristina (renamed Krista), a younger singer who passionately admires Emilia, becomes here her lover, as is made all too tawdrily clear by Krista’s displayed text messages and an explicit scene in a hotel room.”

This production showcases Mitchell’s determination to confront outdated gender roles and present opera through a more progressive and feminist lens.

Author's summary: Katie Mitchell’s final opera production reimagines Janáček’s classic with a feminist perspective, challenging traditional sexist narratives through a candid portrayal of female relationships and empowerment.

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London Evening Standard London Evening Standard — 2025-11-06