8. 11. 2026, 7 p.m.
Janáček Theatre
Composer: Leoš Janáček
Conductor: Robert Kružík
Director: David Radok
Ensemble: Janáček Opera NdB
The performance lasts 2 hours and 10 minutes, including one intermission (25 minutes).
8. 11. 2026
7 p.m.
Janáček Theatre
Composer: Leoš Janáček
Conductor: Robert Kružík
Director: David Radok
Ensemble: Janáček Opera NdB
The performance lasts 2 hours and 10 minutes, including one intermission (25 minutes).
Conductor: Robert Kružík
Musical Direction: Marko Ivanović
Stage Director: David Radok
Set Design: Ondřej Nekvasil
Costumes: Zuzana Ježková
Lighting Design: Torkel Blomkvist
Chorus Master: Pavel Koňárek
Cast
Emilia Marty – Jana Šrejma Kačírková
Albert Gregor – Aleš Briscein
Solicitor Vítek – Petr Levíček
Kristina – Doubravka Novotná
Jaroslav Prus – Svatopluk Sem
Janek – Vít Nosek
Dr. Kolenatý – Jan Šťáva
Stagehand – David Szendiuch
Cleaning Woman – Jana Hrochová
Hauk-Šendorf –
Maid – Alžběta Symerská
Act I
In a lawyer’s office. For a hundred years, a lawsuit over an inheritance between the Gregor and Prus families has been dragging on without result. Just as it seems that the inheritance will go to Prus’s descendant, the opera diva Emilia Marty appears, claiming to know about a will in favor of a Gregor heir. The will is indeed found, and Emilia demands, as a reward from Albert Gregor, the Greek documents once owned by his great-grandfather. But they are in the possession of Jaroslav Prus, who refuses to hand them over.
Act II
In a theater. After a performance, everyone admires Emilia Marty. Among them is a confused old man who says she reminds him of his former love, Eugenia Montez. Emilia continues to crave the old Greek documents. Jaroslav Prus eventually agrees to bring them to her at night.
Act III
In Emilia’s bedroom. Prus pays Emilia for a night spent together with the Greek documents. In Emilia’s possession, objects are discovered that are linked to various women’s names, all with the same initials: Ellian Mac Gregor, Eugenia Montez, Elsa Müller, Ekatěrina Myškina. During questioning, Emilia finally admits that she is, in fact, Elina Makropulos, born 337 years ago, and that she herself was all of those women. The Greek documents contain “The Makropulos Case” – the recipe for the elixir of eternal youth, which she once drank. Emilia wanted the recipe back because she had begun to age. Now, however, she realizes the emptiness of her life and no longer fears death. She offers the recipe for longevity to everyone, but no one wants it.
The story of the singer Emilia Marty, who has lived for more than three hundred years thanks to the elixir of life… A glimpse into the eccentric world of opera divas, decadent aristocracy, and shallow bourgeois society. In February 2017, Janáček Opera presented this work at the Hong Kong Arts Festival. The production was created in co-production with Gothenburg Opera.
Leoš Janáček (1854–1928) composed his penultimate opera after Karel Čapek’s play about the desire for immortality – but also about the endless fatigue and horror of one who is denied death. Its main character is the opera singer Emilia Marty – Elina Makropulos, daughter of Emperor Rudolf II’s physician – who has lived for more than three centuries thanks to the elixir of life. Life gradually ceases to bring her joy; she becomes exhausted, lonely, and cynical. A mysterious femme fatale, she turns upside down the life of everyone she encounters. Čapek’s fantastic comedy – with its mysterious, partly detective-like plot – offers a view into the eccentric world of opera stars, degenerate nobility, and petty bourgeois society. Janáček transformed the play into a deeply powerful music drama. The premiere took place in 1926 at Brno’s Theatre on the Walls, with the composer himself in attendance. The opera became one of Janáček’s most enduringly popular works and is frequently staged at leading theatres around the world.
The National Theatre Brno has prepared a revival of this production as part of the Year of Czech Music, marking the 160th anniversary of the composer’s birth, and as the festive opening of the Janáček Brno 2014 Festival. For the staging, one of today’s most distinguished Czech directors, David Radok, was invited. It was his first production for NdB and also his first encounter with this opera.
Premiere: 21 November 2014 at the Janáček Theatre.
Performed in Czech (original version) with Czech, English and German surtitles.
Conductor: Robert Kružík
Stage Director: David Radok
Musical Preparation: Marko Ivanović
Set Design: Ondřej Nekvasil
Costumes: Zuzana Ježková
Lighting Design: Torkel Blomkvist
Chorus Master: Pavel Koňárek
Cast
Emilia Marty – Jana Šrejma Kačírková
Albert Gregor – Aleš Briscein
Solicitor Vítek – Petr Levíček
Kristina – Doubravka Novotná
Jaroslav Prus – Svatopluk Sem
Janek – Vít Nosek
Dr. Kolenatý – Jan Šťáva
Stagehand – David Szendiuch
Cleaning Woman – Jana Hrochová
Hauk-Šendorf –
Maid – Alžběta Symerská
Act I
In a lawyer’s office. For a hundred years, a lawsuit over an inheritance between the Gregor and Prus families has been dragging on without result. Just as it seems that the inheritance will go to Prus’s descendant, the opera diva Emilia Marty appears, claiming to know about a will in favor of a Gregor heir. The will is indeed found, and Emilia demands, as a reward from Albert Gregor, the Greek documents once owned by his great-grandfather. But they are in the possession of Jaroslav Prus, who refuses to hand them over.
Act II
In a theater. After a performance, everyone admires Emilia Marty. Among them is a confused old man who says she reminds him of his former love, Eugenia Montez. Emilia continues to crave the old Greek documents. Jaroslav Prus eventually agrees to bring them to her at night.
Act III
In Emilia’s bedroom. Prus pays Emilia for a night spent together with the Greek documents. In Emilia’s possession, objects are discovered that are linked to various women’s names, all with the same initials: Ellian Mac Gregor, Eugenia Montez, Elsa Müller, Ekatěrina Myškina. During questioning, Emilia finally admits that she is, in fact, Elina Makropulos, born 337 years ago, and that she herself was all of those women. The Greek documents contain “The Makropulos Case” – the recipe for the elixir of eternal youth, which she once drank. Emilia wanted the recipe back because she had begun to age. Now, however, she realizes the emptiness of her life and no longer fears death. She offers the recipe for longevity to everyone, but no one wants it.
The story of the singer Emilia Marty, who has lived for more than three hundred years thanks to the elixir of life… A glimpse into the eccentric world of opera divas, decadent aristocracy, and shallow bourgeois society. In February 2017, Janáček Opera presented this work at the Hong Kong Arts Festival. The production was created in co-production with Gothenburg Opera.
Leoš Janáček (1854–1928) composed his penultimate opera after Karel Čapek’s play about the desire for immortality – but also about the endless fatigue and horror of one who is denied death. Its main character is the opera singer Emilia Marty – Elina Makropulos, daughter of Emperor Rudolf II’s physician – who has lived for more than three centuries thanks to the elixir of life. Life gradually ceases to bring her joy; she becomes exhausted, lonely, and cynical. A mysterious femme fatale, she turns upside down the life of everyone she encounters. Čapek’s fantastic comedy – with its mysterious, partly detective-like plot – offers a view into the eccentric world of opera stars, degenerate nobility, and petty bourgeois society. Janáček transformed the play into a deeply powerful music drama. The premiere took place in 1926 at Brno’s Theatre on the Walls, with the composer himself in attendance. The opera became one of Janáček’s most enduringly popular works and is frequently staged at leading theatres around the world.
The National Theatre Brno has prepared a revival of this production as part of the Year of Czech Music, marking the 160th anniversary of the composer’s birth, and as the festive opening of the Janáček Brno 2014 Festival. For the staging, one of today’s most distinguished Czech directors, David Radok, was invited. It was his first production for NdB and also his first encounter with this opera.
Premiere: 21 November 2014 at the Janáček Theatre.
Performed in Czech (original version) with Czech, English and German surtitles.
