Name: Věc Makropulos
Start: 2011-08-10T00:00:00.000Z
End: 2011-08-30T00:00:00.000Z
Location: Großes Festspielhaus

Organization

Певец

Сопрано

Angela Denoke

Эмилия Марти

Тенор

Brandon Jovanovich

Альберт Грегор

Peter Hoare

Витек

Jurgita Adamonytė

Кристина

Баритон

Johan Reuter

Барон Ярослав Прус

Aleš Briscein

Янек

Бас-баритон

Jochen Schmeckenbecher

Доктор Коленатый

Контральто

Linda Ormiston

Уборщица

Служанка гостиницы

Ryland Davies

Граф Гаук-Шёндорф

Дирижер

Esa-Pekka Salonen

Режиссер-постановщик

Christoph Marthaler

Художник по костюмам

Anna Viebrock

Художник-постановщик

Salzburger Festspiele

Orchestra

Wiener Philharmoniker

чешский

Věc Makropulos -  (Средство Макропулоса)

Зальцбург

Австрия

Großes Festspielhaus

The celebrated singer Emilia Marty has a secret: her real name is Elina Makropulos and she is over three hundred years old. Her father had once brought about the long lifespan with an experiment. But now the life, beauty and youth of the singer must be prolonged again, and for this she urgently needs her father's secret formula...

The plot is based on the play of the same name by the renowned Czech poet Karel Čapek. Janáček wrote the text himself and took it verbatim in an abbreviated form.

The story about immortality fascinated him: "It grabbed me," he wrote, "the terrible, the human-emotional that will never end." But Janáček felt pity for the three-hundred-year-old beauty who must live so long: An invisible choir comments on Emilia Marty's death with the words "We are so happy" - happy because we are allowed to live, love and die.

Janáček worked on his opera for two years, setting the dialogues to music with his typical care in terms of intonation and atmosphere. He dispensed with arias and composed in a recitative style that makes the complicated content understandable.

With its utopian plot, "The Makropulos Case" is unique in operatic history. The premiere in Brno in 1926 was a great success for the seventy-one-year-old Janáček. The work took a long time to establish itself on the international opera scene and is still considered an exciting insider tip, a model of music theater that strays from the usual path and "grabs" the audience with new means.

"...the great Janáček success completes a triad of premieres ... the summer of 2011 will be remembered for a long time" (Salzburger Nachrichten).

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