MOVE OVER TYLER PERRY;
HERE COMES CHERUBINI’S MEDEA

Lyric Opera rarely stages anything written before the nineteenth century, apart from Mozart and the occasional Handel and Gluck, so it is a true treat to have Cherubini’s Medea open the new season. Never before produced at Lyric, Medea has been surprisingly slow to enter the operatic canon. Yet it’s a far more attractive opera than similarly dark offerings like Strauss’s Elektra or Verdi’s Macbeth. As with Lyric’s most recent productions of those operas, this one also is directed by David McVicar. His work is always dark and horrific, sometimes questionable, and rarely boring. Medea is no different.

Sondra Radvanovsky

A superb production in almost every way, the primary disappointment of Lyric’s Medea (co-produced with the Metropolitan Opera, Greek National Opera, and Canadian Opera Company) is that it’s not Médée. In other words, this production uses Zangarini’s Italian translation of Lachner’s German translation, rather than the original French libretto written by François-Benoît Hoffman. Yet, even Hoffman’s libretto is mediated by Pierre Corneille from its Euripidean source. To put it simply, Medea tells of a spurned wife and mother (Medea) who gets revenge on her wayward husband (Jason of the Argonauts) by killing his new bride (Glauce) as well as her own children.

Elena Villalón and the Company of Medea

Somewhat incongruously for an opera based on Greek tragedy, Cherubini’s Medea originated as an opéra comique. This designation, however, did not mean that the opera was funny–it most definitely is not–but that it contained spoken dialogue and sung arias, as in Bizet’s Carmen (Zangarini’s Italian translation is entirely sung).

Elena Villalón and the Company of Medea

Cherubini’s gorgeous score begins with a dramatic minor-key overture that sets the tone for the whole piece. When the curtain finally comes down, we meet Glauce, perfectly played by Cuban-American soprano Elena Villalón in her Lyric debut. Her clear and dulcet tone aptly conveys excitement at her imminent wedding, yet also foreboding because of who her fiancé’s ex is. Unfortunately, audiences see little of her beyond the first act.

Sondra Radvanovsky, Matthew Polenzani

Local soprano Sondra Radvanovsky needs little introduction, especially after last season’s Puccini Heroines concert during which she hinted at her then upcoming role starring as Medea. Radvanovsky delivers as only someone in top form and maturity can. Giving an incredibly athletic performance, she sings lying prone and sideways, wooing Jason and cursing Glauce and her father Creonte. Cherubini rarely gives Medea anything sweet to sing, instead taxing her voice almost beyond recognition. Indeed, one often hears Radvanovsky’s voice break at the lower range into something raw and rabid. Radvanovsky’s outstanding acting anchors and drives the whole production, from beginning to end.

Zoie Reams

Another Lyric favorite, tenor Matthew Polenzani, nearly matches Radvanovsky for depth of character and power of voice. Unfortunately, Wig Master and Makeup Designer John Metzner makes Polenzani’s Giasone appear too old, which weakens the impact of his performance. His character also seems too one-sidedly villainous and it’s not clear exactly who is responsible: the actor, the librettist, the composer, or the director. By contrast, Radvanovsky’s Medea manages to be sympathetic despite murdering half the cast.

Sondra Radvanovsky and the Company of Medea

Every so often, one sees and appreciates a veteran performer as if for the first time. In Medea, I gained new esteem for mezzo soprano Zoie Reams. Although she has performed five different roles on the Lyric stage, Neris is her breakout role. She sings as if the part was written specifically for her voice, so perfectly does it match her range and tone. And it provides such cool contrast to Radvanovsky’s full-throated soprano.

Sondra Radvanovsky

In addition to directing this production, McVicar designed its simple set, which is simply ingenious. The set comprises a large building center stage that doubles as a palace and a temple reached by steps and opening onto a large plaza. The building’s front walls/doors open and close, revealing a dark interior dominated by a massive mirror set at an angle. This mirror enables the stage to remain level, while allowing those seated on the main floor of the opera house to see what’s going on. It also acts like a fun house mirror, permitting the audience to experience some of Medea’s disorientation; one doesn’t always know where to look–at the actors, or their reflections–and the angles can be jarring.

The Company

It is difficult to know what Costume Designer Doey Lüthi was aiming for in this production. The costumes are clearly not supposed to be from the time of Euripedes, but are they contemporary with the opera’s first performance in 1797? Not exactly–at least not the beautiful pastels.

 Alfred Walker

Medea is a delight to experience, from Cherubini’s haunting score and the Lyric Opera Chorus’ rousing choruses to McVicar’s set design and direction and Radvanovsky’s commanding performance. The grandiose whole comes together stunningly under the baton of Lyric Opera’s own Music Director and Conductor Enrique Mazzola. Let us hope that this production helps cement Cherubini’s place in the operatic canon and leads to more performances of his work in the future.

photos by Cory Weaver and Andrew Cioffi

Medea
Lyric Opera of Chicago
Civic Opera House, 20 N. Wacker Drive
2 hours and 45 minutes, including one intermission
October 14, 17, 20, at 7; October 23 and 26 at 2
ends on October 26, 2025
for tickets, call 312.827.5600 or visit Lyric Opera

for more shows, visit Theatre in Chicago