Composer: Leoš Janáček
Works: The Makropulos Case
Performers: Libuše Prylová (Emilia Marty), Ivo Žídek (Albert Gregor), Rudolf Vonásek (Vitek), Helena Tattermuschová (Kristina), Premsyl Kocí (Jaroslav Prus), Viktor Kocí (Janek), Karel Berman (Dr. Kolenatý), Prague National Theatre Chorus and Orchestra, Bohumil Gregor (conductor)
Recording: Recorded at Domovina Studio, Prague, December 1965 to January 1966
Label: Supraphon
Leoš Janáček’s opera, The Makropulos Case, composed between 1923 and 1925, emerges as a masterful exploration of existential themes wrapped in a modern narrative laden with legal intrigue and personal identity. Janáček, often celebrated for his ability to distill the essence of human experience into music, deftly intertwines the personal and the philosophical through the character of Emilia Marty, a three-hundred-year-old opera singer caught in a web of societal and individual dilemmas. The opera’s premiere in 1926 marked a pivotal moment in Janáček’s career, solidifying his status as a preeminent voice in 20th-century opera.
Libuše Prylová’s portrayal of Emilia Marty commands attention with her distinctive vocal qualities. Her voice, characterized by a steely edge, is perfectly suited to the complexity of the character, who embodies both allure and emotional turmoil. In Act 3, when Emilia utters the resigned proclamation, “God give me patience!” her vocal inflections encapsulate the weariness of someone who has lived through centuries of experiences, both profound and trivial. This emotional authenticity, though at times lacking the warmth found in Elizabeth Söderström’s renowned interpretation, provides a compelling contrast that accentuates the character’s emotional detachment and bitterness. The dissonance present in the earlier acts, mirroring the chaotic world of the 1920s, allows Prylová to explore a wider range of expression, culminating in a lyrical outpouring that resonates deeply in the final act.
The orchestration under Bohumil Gregor’s baton navigates the work’s demanding score with an impressive agility. The orchestra’s performance is robust, exhibiting a keen understanding of Janáček’s unique rhythmic structures and harmonic language. Gregor’s interpretation shines in the quirky prelude, where the bustling city sounds are deftly woven into the musical fabric, setting an energetic tone that pervades the opera. The recording captures the orchestra’s nuances effectively, presenting a balanced sound that enhances the listener’s experience, much improved from the typical expectations of 1960s Supraphon recordings.
While this rendition of The Makropulos Case stands on its own merits, it inevitably invites comparison with the definitive recording by Sir Charles Mackerras. The latter’s approach, which includes the exquisite Lachian Dances as a complementary work, offers a broader context for Janáček’s stylistic breadth. Mackerras’s version benefits from superior engineering and a meticulously crafted booklet that provides insightful commentary, contrasting with the Supraphon edition’s typographical errors and less thorough notes. Nonetheless, this performance captures an authentic feeling, bolstered by the ensemble’s command of Janáček’s naturalistic speech patterns and the local idioms of the Czech language.
The Makropulos Case remains a poignant reflection on the human condition, eloquently expressed through Janáček’s striking musical language. This recording, while perhaps not eclipsing the Mackerras version, offers a compelling interpretation that showcases the strengths of its cast and conductor. Its authentic Czech roots and the orchestra’s vigorous engagement with the score render it a valuable addition to any collection of Janáček’s works. The recording deserves commendation for its immersive qualities and the emotional depth it conveys, solidifying its place within the pantheon of notable interpretations of this operatic gem.
