Katie Mitchell, a visionary director, has left an indelible mark on the opera world with her latest staging of Leoš Janáček's The Makropulos Case. This production, marking a first for the Royal Opera House, showcases Mitchell's unwavering commitment to tackling the industry's most pressing issues – in this case, misogyny and its pernicious effects on female artists. By breathing new life into one of opera's most iconic roles, Emilia Marty, Mitchell proves that even the most established stories can be reinvented with vitality and humor.
The true star of the show is Ausrine Stundyte, whose electrifying performance as Marty sets the tone for an evening of unbridled energy. With her voice soaring above the orchestra, she embodies the character's complexity – equal parts imperious and vulnerable. As Krista, Heather Engebretson delivers a nuanced portrayal that serves as a perfect counterpoint to Stundyte's commanding presence.
Mitchell's production is a masterclass in weaving multiple storylines together, creating a sense of tension that propels the drama forward. The set, designed by Vicki Mortimer, cleverly captures the dualities of Marty's life – from the luxurious world of dating apps to the drab backdrop of backstage politics. Jakub Hrůša's masterful conducting brings out the full range of Janáček's score, conjuring a kaleidoscope of emotions that underscore the opera's themes.
If there is one criticism to be made, it is that Mitchell's trademark attention to detail can sometimes be overwhelming. With so much happening on stage at once, some audience members may find themselves struggling to keep track of key plot points. Additionally, certain scenes – including Marty's final monologue – are relegated to a barely visible section of the stage, which can compromise the viewing experience.
Despite these minor quibbles, Mitchell's The Makropulos Case is an exhilarating evening that cements her reputation as one of the most innovative and bold directors working in opera today. With its fearless exploration of female agency and its side-splitting humor, this production is a testament to the power of opera to challenge, provoke, and ultimately, uplift. As Mitchell steps away from the spotlight after nearly 30 years, it is clear that her legacy will be felt for generations to come.
The true star of the show is Ausrine Stundyte, whose electrifying performance as Marty sets the tone for an evening of unbridled energy. With her voice soaring above the orchestra, she embodies the character's complexity – equal parts imperious and vulnerable. As Krista, Heather Engebretson delivers a nuanced portrayal that serves as a perfect counterpoint to Stundyte's commanding presence.
Mitchell's production is a masterclass in weaving multiple storylines together, creating a sense of tension that propels the drama forward. The set, designed by Vicki Mortimer, cleverly captures the dualities of Marty's life – from the luxurious world of dating apps to the drab backdrop of backstage politics. Jakub Hrůša's masterful conducting brings out the full range of Janáček's score, conjuring a kaleidoscope of emotions that underscore the opera's themes.
If there is one criticism to be made, it is that Mitchell's trademark attention to detail can sometimes be overwhelming. With so much happening on stage at once, some audience members may find themselves struggling to keep track of key plot points. Additionally, certain scenes – including Marty's final monologue – are relegated to a barely visible section of the stage, which can compromise the viewing experience.
Despite these minor quibbles, Mitchell's The Makropulos Case is an exhilarating evening that cements her reputation as one of the most innovative and bold directors working in opera today. With its fearless exploration of female agency and its side-splitting humor, this production is a testament to the power of opera to challenge, provoke, and ultimately, uplift. As Mitchell steps away from the spotlight after nearly 30 years, it is clear that her legacy will be felt for generations to come.
I'm lovin' how Katie Mitchell is pushing the boundaries with The Makropulos Case! It's so refreshing to see a female lead like Emilia Marty get the spotlight. Ausrine Stundyte is absolutely 
as Marty, her voice just soaring above everything. And can we talk about Heather Engebretson's Krista? She brings such nuance and depth to that character 
. The set design is so clever, it's like you're right there with Marty in the world of dating apps and backstage drama 
. Mitchell's attention to detail is insane, but sometimes I feel like she's getting a bit too fancy with the staging 
. Minor quibbles aside, this production is absolute fire 
. It's a testament to opera being more than just old music - it can be powerful, funny, and thought-provoking all at once 
. Mitchell's legacy will definitely live on, and I'm so excited to see what she comes up with next 
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The only thing that kept me from giving it a 10/10 was when I found myself getting lost in the plot 
Some scenes, like Marty's final monologue, were hard to follow with all the action going on stage. Still, Mitchell's passion and dedication shine through, and this production is definitely a testament to her genius 
! But what really got me was how she tackled that hard topic of misogyny... it's not always easy to see, but trust me when I say this production does NOT shy away from it 
.
and OMG, Katie Mitchell's direction was pure fire 
! Can't wait to see what she does next 
I'm so stoked to see Katie Mitchell's vision come to life on stage! Her dedication to pushing boundaries and tackling tough issues like misogyny in opera is truly inspiring 
. I did find myself getting a bit lost during some of the more complex scenes, but that's a small price to pay for such an exhilarating experience 
. Can't wait to see what she tackles next! 
The set design was also super clever, love how it reflected the character's dual worlds 
. My only gripe is that some scenes were hard to follow, maybe a bit too much going on at once? 
Opera director Katie Mitchell just made The Makropulos Case a total mess by overloading the stage with too many plot twists 
...and now some audience members are getting whiplash from trying to keep up 
. 30 years of directing and she still can't get the attention span thing right 
.
Is it really necessary to add more comedy to an opera that's already dealing with some heavy themes? 
And don't even get me started on the dating apps... is that really relevant to the story? 
. And Heather Engebretson's Krista is the perfect yin to her yang - her subtle energy balances out Stundyte's explosive presence perfectly 
. The set design? Genius 
! It's like Janáček's score is alive on stage, with every note conjuring a new emotion... I'm still reeling from the final monologue 
. My only gripe? Mitchell's attention to detail can be a bit overwhelming at times, but honestly, that just shows how much she cares about the story 
. All in all, this production is an absolute triumph! 
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. And hey, if there are scenes that get lost in translation, so be it – it's all part of the journey, right?
- but overall, it's just such an impressive production.
. Ausrine Stundyte shines as Emilia Marty - her voice is just WOW 
! And Heather Engebretson's portrayal of Krista is perfect, adding depth to the story without overpowering Stundyte. The set design is genius 
!
it was like he had a direct line to Janáček's soul 
it's so refreshing to see someone speaking truth to power. The set design was also super clever and I loved how it highlighted the dualities of Marty's life.