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Medea

Medea

Saison 2018

Alle Oct Nov Dec Saison 2019

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Description

Medea - Aribert Reimann

Reimann is known for his literary adaptations (particularly for his version of Lear), but as to what purpose or intent a modern opera looks back at classical subjects is difficult to say. Surprisingly, the composer seems to view Medea’s dilemma as being one of class anxiety and social climbing, both on her part from her background of Colchis - she is seen by herself and others as a barbarian - and on the part of Jason who, after suspicion has fallen on them for the death of Pelias, has fled Jolkos and sought sanctuary from King Creon, abandoning Medea in the process for the sophisticated life of Corinth and the hand of his rather more beautiful daughter Creusa.

Relating this conflict between old world and the new, between past and present – the set contrasting the bleak lunar landscape inhabited by Medea with the almost space-age nature of Corinth – the orchestration is accordingly made up of slow, discordant notes that are stretched and bent, a strangled string section, with woodwind trills, flatulent brass and deep percussive, almost industrial sounds. But it’s the voices that are the most expressive of the dilemma of the characters – high, emotional, intentionally strained, notes of anger, betrayal and despair that come close to a scream, yet – particularly in the case of Marlis Petersen as Medea – always remaining tuneful and musical. Medea consequently is not for those seeking beautiful melodies or harmonies, but rather a deeper expression of darker natures, uncomfortable alliances and fractured relationships in an intense retelling of the ancient Greek myth. On that level, Reimann’s Medea expresses everything the story ought to and as forcefully as it ought to be.

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