Janáček’s The Makropulos Affair asks audiences the timeless question - do you want to live forever? And it shows us, in the shape of the seemingly immortal Emilia Marty, that the answer is more complex than we could imagine.

Now aged more than 300 years, Emilia has arrived at the 1920s and is lauded as the greatest opera singer on stage. She is wealthy, adored by fans, loved by countless men and seems to have the world at her feet. And yet we discover that in reality, here is a woman tired of life, broken by seeing people she loves dies and disinterested in those who want to love her.

And while it asks some deeply philosophical questions, The Makropulos Affair also presents us with a host of memorable characters. From the moment we meet Ángeles Blancas Gulin’s Emilia Marty we are also intrigued. Who is this brash woman who is afraid of no-one, speaks her mind and laughs in the face of adoration while swigging from a hip flask and snorting cocaine? As she swirls round the stage in a voluminous scarlet dress, she is a towering presence - this is not a woman to be messed with.

And yet, as the story progresses we learn that all is not as it appears. Emilia may seem to be totally in control but as she unpeels the layers we see she is wounded and despairing. Immortality has proved to be more of a curse than a gift.

Nicky Spence’s Albert Gregor is immediately captivated by this mysterious woman and attempts to charm but is only met with disdain. Not that her response dampens his ardour and one has to admire this man’s persistence.

Directed by Olivia Fuchs and designed by Nicola Turner, we are taken through Emilia’s journey not just through the music but also by visual clues as we pass from a muted colour palette into rich red and finally into the final act where white is dominant. So too Emilia begins the production in a smart dark coat and cloche, then moves into a diva-like red and black gown before ending in a white almost smock-like dress, reminiscent of the idea of sacrifice.

The production begins with a series of black and white films by video designer Sam Sharples creating an immediate sense of mystery as giant eyes gaze out at us but also of finality as we see the sands of time. And the theme of time running out is evident throughout the show with giant clocks bearing different times constantly in the background.

Janáček’s score may be less familiar than many opera classics yet it packs a punch. Under the baton of Tomáš Hanus, a fellow Czech, the music soars but also gives plenty of space for introspection.

After Birmingham, WNO take the show to the Janáček Brno Festival in the Czech Republic where it will no doubt be appreciated by audiences of Janáček enthusiasts and afficionados.

Four stars

Reviewed by Diane Parkes at Birmingham Hippodrome on Tuesday 8 November. Welsh National Opera (WNO) continues its current residency at the theatre with La bohème and Migrations showing until Sat 12 November.