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Much discussion has arisen around the myths and legends of ancient Greece over the past few years, particularly those involving Gods, demi-Gods and their descendants. Comparisons have been made with other civilisations who speak of humanoid species much larger than regular homo sapiens in Egypt, Middle East, The Americas, Scandinavia and Europe. Even the Old Testament of the bible speaks of those who “fell” from the sky and wanted to mate with human women. Any giant skeletons discovered by archaeologists are usually swept up and “safely” stored by the Smithsonian before anyone else can get a look at them and so, these days we are short on the actual evidence. Regardless of whether or not Médée was a real live being on this planet, her legend has certainly stood the test of time.
Trained as a magician or sorceress, she is famed for killing so many around her, including members of her own family, to please a lover or to seek revenge. The close to this section of her story originally spoke of her grandfather, the Sun-God Helios, sending a chariot led by flying dragons or serpents to make her escape. Though the flying dragons can be a bit too demanding on the budget, it’s a highly dramatic story and perfect fodder for an opera.
Opening night for Pinchgut Opera’s final production for 2022, boasted a full house in attendance. Australia’s only Baroque Opera company has built an international reputation for high quality performance over the years. They make full use of the City Recital Hall with a large scale set, mixed media, sophisticated lighting and several rows of seats removed from the stalls to make room for the orchestra.
Musicians are performing on historic or historically accurate instruments dating as far back as the 1600s. The tone of the orchestra is something that cannot be truly replicated on digital audio or video, possibly because of the emitting vibe. A bit like birdsong from a tall tree which sends healing vibes out to the surrounding area, these instruments must be experienced in person to get the most benefit.
As conductor Erin Helyard took his place in front of the harpsichord and directed the overture, the musicians threw themselves into the mixed tempi, as expressive as those on stage. This is a company of passionate co-creators, the best of the best.
Helyard demonstrates an interpretation of the music that cannot be learnt. He has the X-factor, an innate talent which just feels right. There are other orchestras around the world performing Baroque where conductors and ensemble leaders try to change it up, pushing the music to its limit, more fast, more violent, simply for the sake of “being different” but Helyard’s version is so natural, it could easily be pictured in the court of Versailles.
The Médée set is starkly monochrome with a large, stone statue head of the King dominating. Designer Charles Davis introduces colour to the grey scene, oh so slowly. A little more, then a little more, as if hand painting the vision. It’s a delightful unfurling.
The opening scene is with the title role played by Australian mezzo soprano Catherine Carby and her sidekick confidante Nérine, beautifully played by Chloe Lankshear. Carby has had a steady and strong career working around Europe and the UK, then returning to Australia on a regular basis. She is perfectly cast for such a meaty role, fearlessly spanning the full gamut of emotions from distraught and vulnerable at the discovery of her wayward lover progressing through to snarling, wrathful sorceress staggering on the brink of insanity.
Her white-face makeup is curious and seems to have no explanation given. It’s a stark contrast to the warm coloured publicity image of her dressed in red rose petals (a satanist symbol for the blood of children) used to promote the production. Her lizard print top revealed later may imply a cold, reptilian heart to match the makeup, perhaps?
Carby’s vocal brilliance is outstanding, full of emotion and powering over the orchestra when needed. Lankshear is wonderful in her role showing a full understanding of the deeper meaning of the story line with clear, accurate vocals. The leading tenor role Jason also starts the story with a side kick. Charpentier has taken this classic ancient Greek myth and added psychological layers to the story telling. He uses these two sidekicks to clarify where all stand in situ as Act One begins to unfold, then to question each lead character, helping the audience to better understand their psyche. It’s wonderful storytelling of an eventful, epic tale.
Another epic feature is the long, demanding arias for the leading roles. Stamina is needed and the roles are not for lightweights. Pinchgut have chosen well for their cast.
Jason is played by up-and-coming Australian opera star, Michael Petruccelli. The voice is light, clear and accurate with great acting skills. The chemistry between Jason and Médée did not feel close enough just yet – they were not convincingly familiar as old lovers – though this will likely develop as trust is built through the season. Petruccelli’s acting and vocals continued to improve throughout the performance. There was no doubt that the love he proclaimed for the princess (Cathy-Di Zhang) was based more on lust than anything romantic. He made Jason the great seducer and a pleasure to watch. It’s worth keeping your eye on Petruccelli in the future.
Zhang’s performance had a few opening night nerves and pitch problems. It’s a challenging role and she was fully committed to her performance receiving great applause at the end of the night. Bass-Baritone Adrian Tamburini played King Créon. Another great role for any singer giving him ample opportunity to stretch himself vocally and dramatically. The scene where he has an altercation with Médée was perfect and a little spot of musical magic was created as he sings quietly with just the theorbo after being seduced by the Furies. His vocals were strong, excellent acting. His death was rather curious as the libretto calls for suicide by stabbing but the make up department chose another method. That, along with Médée’s white face and smeared makeup for the ladies of the chorus later on, seemed a little questionable and ill matched to an otherwise clear cut story telling style of the rest of the production team.
Other notable roles were Andrew Finden as Orente with excellent acting and vocals – we really felt for him – and Maia Andrews as Une Italienne in her writhing gold sequin dress.
Much credit is due to Director Justin Way for crystal clear story telling. Lighting Designer Damien Cooper and Video Designer David Bergman created a strong visual theme which will make this production memorable for many years. (I really hope they record this one to sell on DVD.) One special little moment was the opening of the second half where changing light on the large head (part of the set) simply implied morning sunrise, a new day. A picture worth a thousand words.
Over all, the opera was superb. With 5 Acts, you’ll be in for a 3 hour adventure. It’s recommended you make a bathroom pit-stop before the show and arm yourself with a drink as you enter the theatre. The first half is very long compared to the second. There were a few technical glitches, including a surtitle malfunction which will likely be ironed out for the second performance.
This company produces work very different from the other main opera contender in Sydney. Free from gimmicks and distractions, Pinchgut productions are focused primarily on the music and showcasing Australian artists which is always a pleasure.
MEDEE runs until Wednesday 7 December 2022. Book your tickets now. Highly recommended!!
Subscribe to Pinchgut Opera news for future productions: www.pinchgutopera.com.au
What’s on at City Recital Hall: https://www.cityrecitalhall.com/whats-on/
Read more about Médée or Medea from Mythology: https://mythopedia.com/topics/medea
Buy an album of Mezzo Soprano Catherine Carby: https://catherinecarby.com/#profile
Principals:
Médée: Catherine Carby
Jason: Michael Petruccelli
Créuse: Cathy-Di Zhang
Oronte: Andrew Finton
Créon: Adrian Tamburini
Orchestra of the Antipodes
Cantillation
Conductor: Erin Helyard
Director: Justin Way
Designer: Charles Davis
Lighting Designer: Damien Cooper
Video Designer: Davi Bergman
Movement Director: Troy Honeysett
Production photography Cassandra Hannagan