11 Jul 2011
Alexandra Deshorties carves indelible image as the wily sorceress in Glimmerglass's 'Medea'
Raphaela Papadakis seems to like ‘playing with fire’. After her acclaimed performance as the put-upon maid, Anna, in Independent Opera’s production of Šimon Voseček’s Beidermann and the Arsonists at Sadler’s Wells last year, she is currently rehearsing for the premiere this week of And London Burned, a new opera by Matt Rogers which has been commissioned by Temple Music Foundation to commemorate the 350th anniversary of The Great Fire of London.
By David Rubin [CNY Café Momus, 10 July 2011]
To open its 2011 season, the Glimmerglass Festival outside Cooperstown, New York offered two French operas with strong (and nasty) women at their centers: Georges Bizet’s chestnut Carmen, and Luigi Cherubini’s rarity Medea. First performed in 1793, Medea has never been very popular. Carmen was clearly meant to sell tickets. Medea was meant to attract attention.