Opera For Everyone Podcast Episode 128 Summary: "Médée (Medea) by Charpentier"
Release Date: March 23, 2025
Podcast Title: Opera For Everyone
Host: Pat Wright
Guest Host: Petria Fasso
Air Time: Sundays, 9:00 a.m. - 11:00 a.m.
Broadcast Station: 89.1 KHOL, Jackson, Wyoming
Cover Artwork: Rosie Brooks (www.rosiebrooks.com)
Introduction
In Episode 128 of Opera For Everyone, host Pat Wright welcomes back guest co-host Petria Fasso to delve into Marc-Antoine Charpentier's Baroque opera "Médée" (Medea). The episode offers an in-depth exploration of this lesser-performed French opera, discussing its historical context, plot intricacies, musical composition, and dramatic performances.
Historical and Musical Context
[02:06 - 04:18]
Petria Fasso introduces "Médée", composed by Marc-Antoine Charpentier, premiered on December 4, 1693, at the Academy Royale de Musique during Louis XIV's reign. The opera's libretto was penned by Thomas Corneille, a contemporary of Charpentier and brother to the renowned dramatists Racine and Molière. Charpentier, primarily known for his sacred music and incidental scores for French dramas, ventured into opera at a time when Jean-Baptiste Lully dominated the French operatic scene.
Pat Wright emphasizes Louis XIV's profound influence on the arts, notably music and dance, which are integral to French opera's structure. "Médée" adheres to the classic French opera format of a prologue followed by five acts, featuring instrumental music, singing, dancing, and intense drama.
Quote:
Pat Wright (00:46):
"The structure is a prologue and five acts. So it's quite a night of music. Instrumental music, singing, dancing and heart rending drama."
Plot Overview
The podcast meticulously outlines the opera's narrative, paralleling Greek mythology. Medea, a granddaughter of Helios and a sorceress, assists her husband Jason in obtaining the Golden Fleece, a task fraught with peril and divine intervention. Their journey results in Medea committing heinous acts, including killing her brother and betraying her uncle Pelias, to secure Jason's success.
Key Plot Points:
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Act 1:
- Setting: Corinth, during a decade-long calm in Jason and Medea's marriage.
- Conflict: Medea senses Jason's waning love and potential infatuation with Creusa, King Creon's daughter. Creon plans to banish Medea to protect his realm from her vengeful past deeds.
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Act 2:
- Divertissement: Features chorus and dance portraying public sentiments in Corinth, juxtaposing personal turmoil with communal concerns.
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Act 3:
- Medea's Vengeance: Medea transforms into a formidable sorceress, enlisting demons to infuse a poisonous dress intended for Creusa, signaling her shift from a wronged wife to a vengeful force.
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Act 4:
- Magic and Madness: Creon succumbs to Medea's enchantments, descending into madness, while Medea's plans intensify.
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Act 5:
- Climactic Tragedy: Medea's poison leads to devastating consequences, culminating in the tragic demise of Creusa and the unraveling of Corinth.
Quote:
Petria Fasso (16:07):
"So they end up in Corinth, and they actually have a pretty nice 10 years of marriage. But then Acastes is mobilizing an army to go and find them. So the King Creon is nervous about that."
Character Analysis
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Medea:
A complex protagonist grappling with love, betrayal, and vengeance. Her descent into darkness is central to the opera's tragic arc. As a sorceress, her supernatural abilities underscore her agency and the opera's Baroque fascination with magic and divine intervention. -
Jason:
The archetypal hero whose ambition leads him to forsake Medea for political alliance with Creusa. His actions catalyze Medea's wrath, portraying the fragility of honor and love. -
Creon:
The king of Corinth whose political maneuvers to secure his realm inadvertently ignite Medea's vendetta. His initial authority is undermined by Medea's sorcery, illustrating the limits of power. -
Creusa:
Creon's daughter, caught in the crossfire of political and romantic rivalries. Her tragic end epitomizes the opera's exploration of innocent suffering amidst power struggles. -
Oronte:
A prince of Argos, presented as a rival suitor to Creusa. His position amplifies Medea's isolation and the opera's themes of rivalry and revenge.
Quote:
Petria Fasso (25:35):
"So she's warning him, she's threatening him? I would say warning, threatening."
Musical and Production Highlights
The hosts discuss the Baroque musical elements inherent in Charpentier's composition, including elaborate choruses, divertissements, and the integration of dance as a narrative device. Les Arts Florissant, under the direction of William Christie, performs the highlighted recording. Christie, recognized for reviving Baroque operas, brings authenticity to Charpentier's work, making it accessible to modern audiences.
Notable Musical Features:
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Overture and Aria: The opera begins with a prologue honoring Louis XIV, followed by arias that convey characters' emotions and motivations.
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Divertissements: Each act concludes with musical interludes featuring dance and chorus, reflecting French operatic tradition and providing a lyrical respite from the unfolding drama.
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Transformation Scenes: Medea's metamorphosis is musically represented by shifts in tone, orchestration, and vocal intensity, highlighting her descent into vengeance.
Quote:
Pat Wright (39:28):
"Well, there are some treasures there on YouTube for, you know, free for the watching. So if it's still up when you're listening to this, please just Google Medee."
Insights and Discussions
Pat and Petria draw parallels between the opera's portrayal of Medea and the historical context of witchcraft hysteria in the late 17th century, notably the Salem Witch Trials (1692-1693). The opera's emphasis on Medea's sorcery and the ensuing fear reflects societal anxieties about female power and supernatural influence.
Key Insights:
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Gender and Power: Medea's character embodies societal fears of powerful, independent women capable of disrupting patriarchal norms.
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Divine Intervention: The opera intertwines human emotions with divine machinations, emphasizing the interplay between fate, gods, and personal agency.
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Cultural Stereotypes: Creusa's labeling of Medea as a "barbarian" underscores cultural prejudices and the stigmatization of the 'other.'
Quote:
Pat Wright (84:09):
"Another divertissement."
Notable Quotes with Timestamps
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On Opera Structure:
Pat Wright (00:46-00:52):
"The prologue, which was, well, obligatory at this point, is very much a way to honor and flatter the king." -
On Medea's Transformation:
Petria Fasso (16:07):
"He envies you. Though I will say, as of the moment of this recording, that particular production that you saw in Paris in 2024 is up on YouTube with English subtitles." -
On Medea's Vengeance:
Petria Fasso (82:27):
"Medea has known it all along, but now she says vengeance alone can be my concern." -
On the Final Act:
Pat Wright (110:48):
"And this powerful sorceress does not merely find herself sad. She's ready for some revenge."
Conclusion
Episode 128 of Opera For Everyone offers a comprehensive exploration of Marc-Antoine Charpentier's "Médée", unraveling its intricate plot, rich musicality, and profound themes of love, betrayal, and vengeance. Through engaging discussions and detailed plot analysis, hosts Pat Wright and Petria Fasso illuminate the opera's enduring relevance and emotional depth, making it accessible and compelling for both opera aficionados and newcomers alike.
Closing Statement from Hosts:
Pat Wright emphasizes the opera's profound drama and tragic beauty, while Petria expresses gratitude for the enlightening collaboration, highlighting the episode's role in demystifying Baroque opera for a broader audience.
For More Episodes:
Opera For Everyone airs every Sunday morning from 9:00 a.m. to 11:00 a.m. Mountain Time on 89.1 KHOL in Jackson, Wyoming. Missed today's episode? Catch up on the Opera For Everyone podcast available on all major platforms. Subscribe, rate, and comment to support the mission of making opera enjoyable and accessible to everyone.