Luigi Cherubini’s Médée premiered in Paris in 1797 after two other thrillers, Lodoïska (1791) and Éliza (1794). Each combines grandeur and horror, big events and big demands on the production crew, musicians, and cast. Medea (in Italian) is a welcome addition to the Met’s repertoire.

Apart from their sheer size, these three operas place tremendous demands on the cast. In the case of the title character Medea it’s a combination of expression, volume, and endurance.

The great Maria Callas resurrected Medea at La Scala in 1953, recorded it on EMI in 1957, then gave performances in Dallas, London, and back to La Scala in 1961. The title role suited her voice and temperament like a glove. As the story goes, Callas was in Dallas for her first Medea in America. She was about to go on stage when a telegram arrived from Rudolf Bing dismissing her from the from the Met’s 1958-1959 season. The news certainly fired her up, as captured on recording. The great Jon Vickers was Jason.

Back to today, Medea has good reason to be really angry at Giasone. She, known locally as a sorceress, helps him find the Golden Fleece, takes swift care of anyone threatening Giasone, and she marries him and soon presents him with two sons.

But, for all that, Giasone abandons Medea for Glauce, the daughter of King Creonte. Needless to say, Medea is not happy. At her entrance, while preparations for Glauce’s wedding to Giasone, we know Medea is not happy. The guards threaten her, but she pleads to remain for just one day…and also to be reunited with her two sons. Medea poisons a robe to be delivered to Glauce and also plans to murder the children. Glauce dies, Medea enters the temple where the boys are sequestered…well, you’ll have to see it.

Soprano Sondra Radvanovsky has a habit of rising above each challenge: Norma, Donizetti’s Three Queens to name four. Her Medea is no different. In addition to the demands of singing the part, when she is not on the floor, she is ranting and raving; when she is quiet, she is plotting evil; she waivers at times, but her vengeance and self-immolation are her goals. Brava Sondra!!!

**Janai Brugger as Glauce and Matthew Polenzani as Giasone fear Medea’s wrath**

As Giasone Matthew Polenzani is a man torn between love for Glauce and fear of Medea. Polenzani sings this heroic role with ease and grace; his emotions and reactions are clearly portrayed. Janai Brugger is in command of the role of Glauce, communicating her joy at the coming wedding to Giasone and fear of the dangerous Medea. Michele Pertusi is a wise Creonte, father of Glauce.

Ekaterina Gubanova is Medea’s companion, who, in the second act (it’s actually Act Three), delivers the poisoned gifts to Glauce and brings the two sons to Medea. She pleads with Medea, saying that poisoning Glauce is enough to get revenge. At first Medea concedes, but as the mob approaches…

Christopher Job is the leader of the King’s Guards; two handmaidens are Brittany Renee and Sarah Larsen; Medea’s children are Axel Newville and Magnus Newville.

Conductor Carlo Rizzi takes full advantage of this great score, making for a dramatic evening all around.

We are familiar with David McVicar’s productions through their grandeur, color and details. This Medea was enhanced by a large mirror behind the stage, which changed projections as the drama required. Also large moving walls in front allowed scene changes behind without delay. Doey Lüthi designed the costumes; Paule Constable designed the lighting; S. Katy Tucker designed the very effective projections; Jo Meredith is the Movement Director.

Acts One and Two comprise the first Act; Act Three (as written) is the second Act. In other words, there is only one intermission. All in all, the production works.

Performance date: Saturday evening, October 8, 2022.

Photos: Marty Sohl, Met Opera.

By the way, there is a short excerpt of Callas and Vickers in Medea in Dallas…just saying…

Speaking for myself, I’m glad to be back!