Is eternal life a dream or a nightmare? That’s essentially the question posed in Janáček’s penultimate opera The Makropulos Affair. Like a lot of his later work, the Czech’s composition process was fuelled by an infatuation with a much younger woman which perhaps partly explains the opera’s fixation on immortality, the weariness of life and the fear of ageing.

After making her company debut last season, Orla Boylan returned to the Scottish Opera stage as protagonist Emilia Marty who has lived over 300 years under many guises, including the titular name of Elina Makropulos. Boylan excels in the role, her authoritative soprano powerfully conveying the anguish yet also the character’s vulnerability having experienced three centuries’ worth of loss and heartbreak.

Time is indeed of the essence in this piece, and sadly it sounded as though the orchestra could have used some more of it. There were no major issues, but the cohesion and synchronicity displayed on stage were sadly not echoed in the pit. Playing will tighten up over the run, no doubt, but it was a shame the orchestra didn’t dazzle in what was their first performance under conductor Martyn Brabbins.

Director Olivia Fuchs’ new production (co-produced with Welsh National Opera) is certainly smart and stylish. Reams of paper float up from the stage showing how life’s events are both documented and layered, while the projected image of a changing human eye serves as a reminder for all which Elina or Emilia (or whoever she is) has seen throughout her long life. 

The Makropulos Affair, Theatre Royal, Glasgow, Wednesday 19, Saturday 22 February; Festival Theatre, Edinburgh, Thursday 27 February, Saturday 1 March; reviewed at Theatre Royal, Glasgow.