Simon Rattle's semi-staging of Leoš Janáček's Makropulos Affair at the Barbican Hall has proven to be nothing short of sensational. The conductor, known for his electrifying performances, dove headfirst into the opera's pulse-pounding prelude and barely let up for two hours, propelling the audience through a thrilling and emotionally charged ride.
While the frenetic pace may have occasionally come at the expense of some lighter moments that had shone in previous productions, Janáček's masterful ear for orchestral detail and harmony remained intact. The London Symphony Orchestra (LSO) played with unbridled passion, elevating the opera to new heights.
The showstopper of the evening was undoubtedly Marlis Petersen's tour-de-force performance as Emilia Marty, the 337-year-old alchemist turned anti-aging aficionado. With her powerful vocals and remarkable emotional intelligence, Petersen brought depth and nuance to a character that could have easily become one-dimensional. Her final act transformation was nothing short of uplifting, leaving the audience in awe.
The supporting cast also deserves praise for their razor-sharp portrayals of minor characters, which added instant authenticity to the production. The all-Czech ensemble provided welcome contrasts, with Aleš Briscein's Albert Gregor and Vit Nosek's Janek standing out alongside a talented corps of native performers. Peter Hoare shone as Vitek, while Alan Oke effortlessly stole scenes as the elderly Count Hauk-Šendorf.
What sets this production apart is its ability to pack an emotional punch and dramatic coherence that was lacking in Katie Mitchell's previous stage adaptation. Under Rattle's guidance, Janáček's masterpiece emerged as a searingly relevant work for our times – a poignant reminder of the human cost of craving eternal life and the devastating consequences of allowing such ambitions to consume us.
As we navigate an era where autocrats and megalomaniacs peddle their own brand of immortality, Makropulos Affair feels like a warning from the past. Janáček's work serves as a powerful counterpoint to our present obsession with life extension and youthful vitality, instead embracing the bittersweet beauty of human mortality.
While the frenetic pace may have occasionally come at the expense of some lighter moments that had shone in previous productions, Janáček's masterful ear for orchestral detail and harmony remained intact. The London Symphony Orchestra (LSO) played with unbridled passion, elevating the opera to new heights.
The showstopper of the evening was undoubtedly Marlis Petersen's tour-de-force performance as Emilia Marty, the 337-year-old alchemist turned anti-aging aficionado. With her powerful vocals and remarkable emotional intelligence, Petersen brought depth and nuance to a character that could have easily become one-dimensional. Her final act transformation was nothing short of uplifting, leaving the audience in awe.
The supporting cast also deserves praise for their razor-sharp portrayals of minor characters, which added instant authenticity to the production. The all-Czech ensemble provided welcome contrasts, with Aleš Briscein's Albert Gregor and Vit Nosek's Janek standing out alongside a talented corps of native performers. Peter Hoare shone as Vitek, while Alan Oke effortlessly stole scenes as the elderly Count Hauk-Šendorf.
What sets this production apart is its ability to pack an emotional punch and dramatic coherence that was lacking in Katie Mitchell's previous stage adaptation. Under Rattle's guidance, Janáček's masterpiece emerged as a searingly relevant work for our times – a poignant reminder of the human cost of craving eternal life and the devastating consequences of allowing such ambitions to consume us.
As we navigate an era where autocrats and megalomaniacs peddle their own brand of immortality, Makropulos Affair feels like a warning from the past. Janáček's work serves as a powerful counterpoint to our present obsession with life extension and youthful vitality, instead embracing the bittersweet beauty of human mortality.
! Simon Rattle's direction is pure magic, taking us on an intense emotional rollercoaster that left me breathless 
! Marlis Petersen's Emilia Marty was absolutely phenomenal – her voice and acting chops are on point 
. I love how the whole cast brought depth to their characters, making it feel super authentic 
. And you know what really gets me? The way Makropulos Affair feels so relevant today 
. It's like Janáček is warning us about our own obsession with eternal life and youth – crazy how prophetic that is! I mean, with all the aging-tech stuff going on now, this opera feels more urgent than ever 
.
I'm seriously blown away by this semi-staging at the Barbican Hall! Simon Rattle is like a conductor superhero, he just brought that opera to life in an electrifying way. The LSO was on point, their passion and energy were infectious! And Marlis Petersen, oh man... she completely owns the stage as Emilia Marty. I loved how the supporting cast added those extra layers of depth to the story too. It's like Janáček's masterpiece is speaking directly to us today, you know? This production is like a warning from the past, reminding us that our quest for eternal life can be super destructive. 
The whole cast is on point, from Marlis Petersen's showstopping performance as Emilia Marty to Peter Hoare's heart-wrenching turn as Vitek. 
It's amazing how Janáček's masterpiece still feels so relevant today - a scathing commentary on the dangers of chasing eternal life and youth, when all we really need is human connection and vulnerability. 
And let's be real, Simon Rattle's direction is pure perfection! 
her voice, acting chops, and emotional range are all on point. what i love most about this production is how it tackles the human cost of chasing eternal life - it's like, totally relevant to our times, you know? 
! But what really impresses me is how well the cast brings depth to these characters. Marlis Petersen as Emilia Marty? Forget about it! She's like a whole other person up there 
. And that final act transformation? Chills every time 
. The supporting cast isn't bad either, especially Peter Hoare and Alan Oke - they bring such nuance to their roles 
. What I love most is how this production feels like a warning from the past, you know, about craving eternal life and stuff... it's so relevant now 
. Janáček's masterpiece is like a punch in the gut, but in a good way 
.
! Simon Rattle absolutely nails it with his pacing – some moments were a bit intense, but that's what kept us on the edge of our seats, right? 
Marlis Petersen gives an Oscar-worthy performance as Emilia Marty – I mean, who else could make 337-year-old alchemy look cool? 
The ensemble is spot on too! I love how they brought those minor characters to life and added this depth to the production. Janáček's themes of mortality and ambition are so timely and relevant now 
. It's like he was writing a warning about our current obsession with life extension... eerie, right? 
and it was MIND-BLOWING!!! 
. And Marlis Petersen's Emilia Marty? WOW! 
, especially those all-Czech performers who added instant authenticity 
! #MakropulosAffair #SimonRattle #BarbicanHall #OperaLover #EmiliaMarty
. The way Rattle semi-staged the opera, it was like he took all the complexity of the piece and simplified it to its most essential elements - it worked! 
I love how it highlighted the human cost of chasing eternal life, you know? It's so relevant now with everything that's going on in politics 
. Anyway, if you haven't seen this production yet, GET ON THAT! 
? I mean, I'm sure they did a great job, but is it really worth making such a big deal about it?
. I mean, who wouldn't want eternal youth and life? But at what cost? Janáček's opera is like a wake-up call, reminding us that our pursuit of immortality can be a slippery slope