When Maria Callas Revived an Epic Opera
The story is based on the ancient Greek myth-inspired tragedy of Medea by Euripides. The opera was moderately successful upon its original debut but wasn't immediately revived. Nevertheless, it was the most remembered work of both the composer and librettist.
The Italian-born composer moved to France in 1784 at the age of 25. He spent the rest of his life there, changing his name to Marie-Louis-Charles-Zénobi-Salvador Cherubini. His name sounds more like a character in an opera than that of a composer.
Cherubini doesn't rank with the likes of Mozart, Beethoven, and Wagner in terms of popularity today. Even in his own day, he was not one of the most successful operatic composers. He had a few hits, but he struggled to find his place in France's tempestuous musical climate, which was torn between classicism and romanticism.
Nevertheless, he was greatly respected by composers who achieved greater fame, particularly Germans. According to journalist Matthew Boyden's "The Rough Guide to Opera" (2007), "Beethoven pronounced him his only equal, [Carl Maria von] Weber referred to him as an inspiration, and Wagner thought him a 'master of his craft.'" The author later proclaims "Medea" as "the worthiest successor" of "all the works inspired by Gluck's reformed operas." Boyden concludes that "Medea" was a forerunner of 19th- and early 20th-century grand operatic tragedies in that it focused on a single central heroine.
This opera has been revived several times. In the 12 years after its debut, the libretto was translated into German in revivals in 1800, 1802, and 1809. In the 1809 version, Cherubini himself shortened the composition by removing 500 bars of music. In 1855, a fourth German translation was produced by German composer and conductor Franz Lachner, based on the 1809 Vienna revival.
The role of Medea was originated by French soprano Julie-Angélique Scio, who was reportedly brilliant in the part. Her death at age 39 just 10 years later has been attributed to the stress of the part, which is perhaps why many sopranos have been afraid to tackle the part. The role has many high notes, yet it also goes quite low for the soprano range. It requires extremely dramatic singing because of the heavy orchestration and the character's intense emotional depth.
As a Greek American, Maria Callas was perfectly suited to the role of this ancient Greek sorceress. When the opera opens, Medea has stolen the Golden Fleece with Jason. She left her family and devoted herself to Jason, with whom she has had two children. She becomes enraged when she learns that Jason plans to marry Glauce (Dircé in French), daughter of King Creon.
When Jason refuses to return to her, she vows revenge and is banished from Corinth. She begs the king to allow her one more day with her children, which he grants. In return, she sends poisoned wedding gifts to Glauce, who dies. As the people demand vengeance for the princess's death, Medea appears from the Temple of Apollo with a bloody knife, with which she just murdered her children. The temple bursts into flames, and Medea disappears with her Furies.
Callas had one week to learn the role of Medea before the 1953 revival at the Florence May Festival, which Vittorio Gui conducted. It was so successful that Teatro alla Scala opened its 1953–1954 season with a production of "Medea," where Callas reprised her performance. Leonard Bernstein conducted as a last-minute substitute for Victor de Sabata.
Callas played Medea in her only film, Italian director Pier Paolo Pasolini's 1969 non-musical film based on the Greek legend. It's a rare opportunity to see her acting abilities in the intimate medium of film.
"Medea" is a testament to the power of music, mythology, and La Divina, a truly great singer. Since last year marked La Divina's 100th birthday, Netflix will be releasing a biopic entitled "Maria" starring Angelina Jolie as Callas in her later years.
