The Royal Opera's First Staging of The Makropulos Case
Katie Mitchell relies on familiar, worn-out themes in The Makropulos Case, but the production is saved by its remarkable musical performances. Despite the director’s recent claims of widespread misogyny in opera, it is worth noting that the Welsh National-Scottish Opera co-production of the same work, directed by Olivia Fuchs, was highly praised for its inspiring vision.
The Royal Opera entrusted Janáček’s dramatic fantasy to Katie Mitchell, describing her vision as “bold,” though it felt quite the opposite—more cliché than daring. Mitchell recycled old tropes and even borrowed some elements, such as projected text messages reminiscent of Patrick Marber’s play Closer from three decades ago. The production included unnecessary sexual scenes and poor staging that affected sightlines.
To experience something fresher, the musical aspect of the performance stood out as truly exceptional. Jakub Hrůša’s appointment as music director of The Royal Opera was vindicated by the brilliant early-season performances of both Tosca and The Makropulos Case. Janáček’s work, deeply connected to Hrůša’s Czech heritage, represents a high point in their shared musical tradition.
The orchestra performed with sublime precision, especially featuring the composer’s Sinfonietta-inspired brass section spotlighted in the balcony, all complementing a nearly flawless cast.
“If anyone doubted the choice of Jakub Hrůša for the music directorship of The Royal Opera, the twin peaks of Tosca and Makropulos so early in the season will have silenced them.”
Summary
The production’s stale staging contrasts sharply with the exceptional musical direction and orchestral performance that elevate The Royal Opera's presentation of Janáček’s masterpiece.
Would you like the summary to be more analytical or more neutral?