Janáček‘s The Makropulos Case at the Metropolitan Opera: A Lasting Legacy
Janáček’s opera The Makropulos case has secured its place as a meaningful work in the composer’s repertoire, moving beyond his well-known opera Jenůfa (translated as Her Foster Daughter).A 1995-96 production at the Metropolitan Opera in New York was especially well-received by critics.
Associated press reviewer Mike Silverman praised the production, noting some flaws but ultimately deeming it “worth the wait.” He specifically highlighted the performance of soprano jessye Norman in the title role of Emilia Marty, and the debut of conductor David Robertson at the MET.
[Image of jessye Norman as Emilia Marty at the Metropolitan Opera, 1995-96. caption: Jessye Norman as Emilia Marty was a critical success.Photo: Metropolitan Opera New York]
The opera’s impact extends beyond individual performances. Jiří Zahrádka, curator of the Janáček archive in Brno, believes The Makropulos Case represents Janáček’s moast complete fusion of music and text. “For me,the highlight is the Makropulos Thing,where the music and the words are combined into one,one perceives them as a whole. That is probably where Janáček as a composer went the furthest,” he stated.
While a popular work, Zahrádka also notes the opera’s interpretive challenges may contribute to its less frequent staging. the Makropulos Case has returned to the MET stage several times, including productions in 1998 and 2001 under the baton of Charles Mackerras, and again in the spring of 2012 led by Jiří Bělohlávek.