Welcome

This is your personal “My Opera” area. This is where you can update your private details, profile settings and password and/or log out.

Your applications in the administrative / editorial area

The Makropulos Affair

Leos Janácek (1854 – 1928)
Sat 10.11.2018 - 19:30 h
C-Prices: € 98,– / € 80,– / € 56,– / € 32,– / € 22,–

Informationen zum Werk

An opera in three acts
Libretto by Leos Janácek based on a comedy by Karel Capek
World premiere 18th December 1926 at the Nationaltheater Brünn
Premiere at the Deutsche Oper Berlin: 19th February 2016

In Czech language with German and English surtitles

2 hrs 15 mins / 1 interval

Pre-performance lecture (in German): 45 minutes prior to each performance

Cast

Conductor

Marko Letonja

Stage Director

David Hermann

Set Design, Costume Design

Christof Hetzer

Chorus Master

Jeremy Bines

Videodesigner

Martin Eidenberger

Light design

Ulrich Niepel

Emilia Marty, formerly Elina Makropulos, a celebrated singer

Evelyn Herlitzius

Albert Gregor

Ales Briscein

Vítek, Kolenatý's clerk

Paul Kaufmann

Krista, his daughter, a young singer

Jana Kurucová

Jaroslav Prus

Philipp Jekal

Janek, his son

Gideon Poppe

Dr Kolenatý, a lawyer

Seth Carico

Count Hauk-Sendorf

Clemens Bieber

a Stage Technician

Andrew Harris

a Cleaning Woman

Maiju Vaahtoluoto

The Concert Programme

Leos Janácek’s penultimate opera explores the human yearning for immortality. The famous singer Emilia Marty, by nature both alluring and chilling, stirs up with her astonishing insider knowledge an inheritance dispute that has been going on for a century. She uses her irresistible erotic aura with cool precision; she is not interested in establishing the truth but rather has an ulterior motive – she is determined to lay her hands on a document bearing the details of an ancient formula. 300 years previously she had been the subject of a scientific experiment that hugely extended the length of her life – and she now needs to take the potion again.

Commenting on his main protagonist, the composer wrote: “I’m making her a warmer person so people sympathise with her. Before it’s out, I’ll be in love with her myself.” He then proceeded to shift the focus of the work from an amusing dialectal study of the pros and cons of an artificially prolonged life – the angle adopted by the original story’s author, Karel Capek – to a personal, arresting criticism of the yawning emptiness and endless repetitiveness of such an existence.

Our Sponsors

Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.