United States Cherubini, Medea: Soloists, Refrain and Orchestra of Lyric Opera of Chicago / Enrique Mazzola (conductor). Civic Opera Home, Chicago, 17.10.2025. (JLZ)
Lyric Opera of Chicago’s gorgeous presentation of Cherubini’s 1797 Medea brings this iconic opera to its stage for the primary time. The libretto by François-Benoît Hoffman relies on the Euripides tragedy and Pierre Corneille’s Médée, and carried out within the 1909 Italian translation by Carlo Zangarini. A co-production with the Metropolitan Opera, Greek Nationwide Opera and Canadian Opera Firm, the staging by Sir David McVicar matches the ability of the rating with its efficient use of the efficiency space. In a rounded area on the heart of the stage, McVicar creates the picture of a palace which additionally serves as a temple, with massive doorways opening and shutting to distinguish between scenes for the complete ensemble and smaller, extra intimate numbers. In the back of the stage a mirrored floor displays the wealthy colours and various designs of the nineteenth-century-style costumes.
In a job that’s legendary for the musical and expressive calls for it locations on the soprano, Sondra Radvanovsky gave a definitive studying that made the passionate obsession of Medea come to life. The phrasing, dynamics, articulation and pacing got here collectively to precise the character’s conflicting feelings, from her entrance as an uninvited visitor at Jason’s marriage ceremony to the ultimate phrases that present her consummate revenge for his transgressions. Radvanovsky was persuasive in her Act II scene with Creonte (‘Dei tuoi figli la madre’) during which she obtained one other day in Corinth purportedly to see her kids, and he or she etched the ultimate scene of Act III (‘Numi, venite a me’) with unmistakable energy. The whole efficiency had a physicality that few can ship, with the musical particulars totally in place and below Radvanovsky’s full management.
As Giasone, Matthew Polenzani matched Radvanovsky’s depth along with his shapely tenor and responsive vocalism. That is the opposite a part of the story of the hero who discovered the Golden Fleece during which he engaged Medea to attain his quest and in doing so betrayed her and her household. When Medea arrives at Giasone’s marriage ceremony with Glauca, the daughter of Creon, King of Corinth, he should account for the affair that resulted in two kids with Medea simply as he’s about to wed his new bride. As sturdy because the tenor have to be musically, he should additionally act convincingly, notably within the second act during which the confrontation between Giasone and Medea is central to the drama. Polenzani delivered the position with fashion, as evident in his phrasing of that scene with Medea, and all through the opera.
The supporting solid was sturdy general. Notable amongst them is Zoie Reams as Neris who was partaking from her first phrases by means of the dénouement during which she tried to guard the kids from Medea’s murderous resolve. Reams’s centered voice matched Radvanovsky successfully within the opening scene of Act II during which her character provides assist to Medea after her dismissal by Creon. Reams’s diction made every line audible and totally in character as she responded to Medea’s raging passions.
As Glauce, Elena Villalón’s rounded soprano contrasted with Medea’s extra dramatic expressions. Villalón gave voice to the apprehension implicit within the opening scene as she verbalized her fears. Alfred Walker as Creonte used his voice effectively to distinguish between his character’s pronouncements as king and his paternal responses. His resolute tone within the second act finally yielded to Medea’s pleas, a call that led to his daughter’s homicide by sorcery.
The rating has its challenges, and Enrique Mazzola addressed all of them. Whereas the opening of the overture confirmed some speeding, he rapidly resolved the tempos with spectacular management. The introduction to the third act was notably efficient in bringing out the nuances of Cherubini’s rating. All in all, this was an excellent opening of the brand new season for the orchestra and your entire ensemble – a Medea that few homes can provide with comparable fashion.
James L. Zychowicz
Featured Picture: Medea on the Lyric Opera of Chicago © Andrew Cioffi
Manufacturing:
Director & Units – Sir David McVicar
Costumes – Doey Lüthi
Authentic lighting – Paule Constable
Revival lighting – Clare O’Donoghue, Chris Maravich
Projection – S. Katy Tucker
Motion – Jo Meredith
Refrain director – Michael Black
Solid:
Medea – Sondra Radvanovsky
Giasone – Matthew Polenzani
Glauce – Elena Villalón
Creonte – Alfred Walker
Neris – Zoie Reams
First Handmaiden – Emily Richter
Second Handmaiden – Camille Robles
Captain of the Guard – Christopher Humbert, Jr.
