In this production of Médée, only Marc-Antoine CHARPENTIER‘s score has retained its baroque spirit. For the rest, we are faced with a backdated work in which the characters find themselves plunged into an era of the Second World War. So it’s hardly surprising to find the Greek armies becoming those of France’s main allies. If the transposition is notable for the costumes, it is also notable for the emblematic figures of the period. For example, Creon takes on the air of General de Gaulle, while Créüse takes on the features of a post-war Marilyn Monroe.

In order to make the set and the drama even more ‘anti-epic’ than they are, the play on shadows, sometimes shrunken, sometimes enlarged, or even playing on a magical illusion in its inversions, magnifies the message.

In terms of choreography, the show breaks with tradition, with steps that also verge on twentieth-century inspiration. The combination of acrobatic rock and cancan is audacious. But it is above all ballroom dancing that is given pride of place in this Médée. Burlesque comes into its own in Act 2 with its share of rhinestones, sequins and feathers when Cupid arrives. Once again, a daring touch! Act 3 is less charming: the invocation of the forces of evil is approached with kitsch, although the audience doesn’t seem to mind – on the contrary.

We were in awe of Lea DESANDRE last season in her role as the page in Roméo et Juliette directed by Thomas JOLLY. We confirmed our enthusiasm for the artist. She is not content with a vengeful Medea, but offers a whole range of emotions in both voice and appearance. No false notes to be deplored. That’s to be expected from a singer, but what we’re talking about here is her stage presence. She shows Médée to be grounded, determined and scorned, underlining the legibility of Thomas CORNEILLE‘s libretto. A libretto that deliberately skims over the most commonly exploited part of the myth: infanticide, and focuses more on the path of such an atrocity. As the perfect witch, it’s no surprise that we fall under her spell.

Four intense hours during which vengeance swells into an array of emotions conveyed in Lea’s prodigious voice with force and truth. What can we say about the singer’s conclusion? She ends her terrible evil ascent with one word on two notes that keep us glued to our seats.

Memorable!

 credit: Elisa HEBERER