Interludes

THE HANGOVER REPORT – Soprano Sondra Radvanovsky positively smolders in The Met’s new production of Cherubini’s MEDEA

• By drediman
• October 19, 2022
• No Comments

Last night, I was finally able to catch up with David McVicar’s new production of Medea, which opened The Metropolitan Opera’s 2022/2023 season in late September. The staging marks the latest in a long parade of productions mounted by Mr. McVicar for The Met (in fact, the in-demand Scottish director’s staging of Tosca can also be currently be seen in the repertory this fall). Since Cherubini’s operatic adaptation of the harrowing Greek mythology isn’t performed very often at The Met, it’s great to see it featured in the mighty opera company’s season in such a prominent fashion.

Aside from the new production, the other main draw of the current run is undoubtedly the opportunity to catch the beloved American soprano Sondra Radvanovsky in the role made iconic by the legendary opera diva Maria Callas. Ms. Radvanovsky’s instrument has evolved fascinatingly over the years. Her voice no longer possesses the flinty quality that polarized opera fans in the past. It’s now prettier and more well-rounded – if not as distinctive and a tad less powerful – which ironically would seem less ideal for the viciously vengeful title role. Nevertheless, Ms. Radvanovsky’s performance positively smoldered from a dramatic standpoint, giving McVicar’s otherwise workmanlike staging (which makes interesting use of moody projections and a massive angled mirror positioned voyeuristically above the action) much needed punch.

Ms. Radvanovsky is surrounded by an excellent cast, including reliable tenor Matthew Polenzani (in robust voice) as Medea’s husband, Giasone; soprano Janai Brugger (sounding like springtime) as Giasone’s new fiancé, Glauce; sturdy bass Michele Pertusi as Glause’s father and the king of Corinth, Creonte; and warm-voiced mezzo-soprano Ekaterina Gubanova as Medea’s lady in waiting, Neris. Conducting the superb Met Orchestra is Maestro Carlo Rizzi, who basks in the melodic richness of Cherubini’s score if not its guttural intensity.

RECOMMENDED

MEDEA
Opera
The Metropolitan Opera
2 hours, 50 minutes (with one intermission)
In repertory through October 28