Luigi Cherubini’s Médée, a work often described as existing on the periphery of the operatic canon, is experiencing a resurgence. Following a series of performances at the Opéra-Comique last year, the Théâtre des Champs-Élysées in Paris is presenting a new concert version of the opera on . This production, featuring soprano Marina Rebeka in the title role, is drawing attention not only for its musical merits but also for a unique approach to the score.
The current production shares two key performers with the previous staging: Julien Behr as Jason and Marie-Andrée Bouchard-Lesieur as Néris. The cast and orchestra have been rehearsing under the auspices of the Fondation du Palazzetto Bru Zane, a center dedicated to the study and performance of French Romantic music. This shared rehearsal period has fostered a notable coherence, particularly in diction, with Rebeka being the only principal singer not natively French.
A significant departure from the Opéra-Comique version lies in the inclusion of newly composed recitatives by Alain Curtis. While Cherubini originally conceived the work with recitatives, they were omitted in some later iterations. The Palazzetto Bru Zane’s decision to reinstate them, presenting what they believe to be the tragedy as Cherubini envisioned it, has sparked some discussion. Critics note that while this change may appeal to audiences accustomed to the Italian operatic style, it potentially diminishes the dramatic impact of the French version.
The performance is being led by conductor Julien Chauvin and his ensemble, Le Concert de la Loge. Chauvin’s direction is described as “ebullient,” driving the performance forward with intensity, even at the risk of occasionally rushing tempos. The orchestra’s sound is noted for its detail and color, highlighting nuances often overlooked. The choral work, performed by Les Chantres du Centre de musique baroque de Versailles, is praised for its clarity and precision, though a slight lack of depth in the lower registers is acknowledged.
However, the true focal point of the production is undoubtedly Marina Rebeka’s portrayal of Médée. Described as “monstrous” in her portrayal of both rage and despair, Rebeka delivers a performance of immense power and emotional depth. Her voice is capable of both velvety tenderness, used to manipulate Créon, and searing intensity, directed at her unfaithful husband Jason. The review highlights the dramatic physicality of her performance – a closed-off facial expression, twisting hands – conveying a complete immersion in the role. A minor disruption during the intermission, a malfunctioning tablet, even led to an impromptu encore of the introduction to Act 2.
Marie-Andrée Bouchard-Lesieur reprises her role as Néris, bringing a “softness and plump timbre” to the character. Her rendition of the aria “Ah! Nos peines seront communes” is lauded for its delicate modeling and radiant tenderness, providing a poignant contrast to the surrounding darkness. Mélissa Petit, as Dircé, also shines with a performance characterized by youthful vibrancy and virtuosity. Julien Behr returns as Jason, portraying a character who is both arrogant and cowardly, maintaining vocal solidity despite being often overshadowed by Rebeka’s commanding presence.
Patrick Bolleire’s portrayal of Créon, while possessing superlative diction and a polished legato, is noted as lacking the bite and forcefulness of Edwin Crossley-Mercer’s interpretation in the previous production at the Opéra-Comique.
This concert performance of Médée is anticipated to be captured in a recording, offering a wider audience access to this compelling interpretation. The production’s success suggests a growing appreciation for Cherubini’s work and a renewed interest in exploring the complexities of this often-overlooked operatic masterpiece. The Théâtre des Champs-Élysées’ commitment to bringing this work to the forefront, coupled with Rebeka’s powerful performance, signals a potential turning point for Médée, perhaps finally moving it out of what one French publication termed its “Purgatory.”
Marina Rebeka’s schedule continues to be packed, with upcoming performances including a recital with the Quartetto della Scala at Teatro alla Scala in , and a role in Verdi’s Aida at the Latvian National Opera and Ballet in . She was recently recognized with an award at the ‘International Opera Awards’ 2025 and has been honored as a ‘Chevaliere des Arts et des Lettres’ for her contributions to the arts in France.
