After a charged day with King Charles in Cardiff, the patron for WNO did not make an appearance at this performance of The Makropulos Affair. Though he has attended past showings of Lohengrin and two of the Verdi trilogy, it looks like he had too much to do and had to shoot off out of the Welsh capital.

There’s a rendition of God Save The King prior to this wonderful performance down the bay; I saw no reason to stand and was keen to tuck into another glorious offering of Janáček from WNO. In this lesser-performed piece, The Makropulos Affair is great fun: a law-filled mystery plot, aside strange fantasy, along with a healthy dose of sexual scandal of the day. Easily compatible to Alban Berg’s take on Wedekind’s Lulu character, or even the eternal Kundry of Parsifal, the woman who lives forever is well-trodden ground in opera – but who exactly is this so-called Emilia Marty?

As ever, the orchestra dazzle in this, conductor Tomáš Hanus not once letting us down in all of his Janáček excursions. I adore Tomáš for his violent passion for the music, each work treat after astounding treat. Director Olivia Fuchs has a flurry of creativity, faithful to the play’s original setting and also maintaining the tight, tense grip on proceedings. Designer Nicole Turner has chosen lavish features and the eloquence of the era; the sets are lovingly made, the design working well with the opera itself. A cloth is used beautifully for the final reveal, and the bed of roses after Emilia’s operatic show-within-the-show is amusing throughout the second act. The lighting of Robbie Butler adds depth to the weird goings-on, a vividness adding a tense fibre, and video work by Sam Sharples gives clear noir projection and made for a great sight.

Ángeles Blancas Gulin makes the perfectly voiced diva, our titular anti-heroine, with much debate as to whether we should care for her or not. Not an easy role by any standard, though in The Makropulos Affair she makes merry with this vamp, camp and timeless lady. Albert Gregor is played by Nicky Spence (who I previously interviewed about the opera) – as ever the golden tenor, a sweet and exclamative voice in anything he does. Mark Le Brocq is Vitek the solicitor, and also our guide between the first two acts: the mass of time it took to change sets gave Mark a chance to break down the strange story, something I can’t say I’ve seen in opera before. Another fine addition to the cast and a regular for many WNO goings-on.

Harriet Eyley plays Krista, a character who pales in comparison with the all-consuming Emilia. A fabulous presence for her brief time onstage, her passions with Janek – played by Alexander Sprague – make up the B-plot of the whole affair. Janek’s later choices are questionable, Sprague adding carnal frustrations to the show. David Stout is another fine choice as Baron Jaroslav Prus: always in flux with the devilish little roles he does, in super baritone voice whenever onstage.

Nearly stealing the show, as ever, is Alan Oke in randy old git mode with Count Hauk-Šendorf. His character almost appears to see through Emilia’s disguise, recognising her as a lover from 50 years prior. His absurd little turns prove some funny blessings in a loud, rowdy score of goosebumps and lumps in throats. 

WNO The Makropulos Affair, Wales Millennium Centre, Cardiff Bay, Fri 16 Sept

Also at the Wales Millennium Centre on Thurs 23 and Wed 28 Sept; at Venue Cymru, Llandudno on Fri 14 Oct, followed by a tour in England.

words JAMES ELLIS