In the end, things don't fare well for her offspring.įor this production, the role of Medea, which is associated with the legendary soprano Maria Callas, was undertaken by Sondra Radvanovsky. The audience follows Medea’s deeply derganged thoughts as she makes sinister flip-flops between what’s more powerful, the love she has for her children or her hate of Jason.
Impulses to get back at Jason, her ex-husband who is planning to remarry, are so overbearing, she cries out wicked plans to kill not only her ex’s new bride but the two sons she shares with him.
If last night’s Fall season opening for The Metropolitan Opera could be summed up in a few words, it would be: “Hell hath no fury like Medea!” Medea, the three-act opera, which was composed by Luigi Cherubini and premiered in Paris in 1797, made its Met Opera debut last night, and the story is dark-even by opera’s standards.īased on the Greek tragedian Euripides’s tale of Medea, the opera is centered on a scorned Medea whose thirst for vengeance can only be quenched with murder.
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