Medea Jolanta Omilian

Giasone Sergio Panaja

Creonte Marcello Lippu

Calcante Giorgio Giuseppeini

Cassandra Maria Cristina Zanni

Lisisca nrica Bassano

Orchestra Sinfonica di Savona; Richard Bonynge, cond.

Arkadia Akademia AK 146.2

Ever since Maria Callas revived Cherubini's Medea in the 1950s, an opera by that name and the composer Cherubini have been almost synonymous. But it was not always so-in mid 19th century Italy, whenever Medea was announced, everybody knew, without any further elaboration, that they would get to hear an opera composed by Giovanni Pacini. Mayr's opera had already disappeared from the repertory by around 1845, and Cherubini's opera was long forgotten outside England and Germany. The Pacini work had been premiered in 1843, was revised several times, and was to have a long career-at least 43 productions up to 1869 or thereabouts (which was far more than all but the most successful operas of the period, and, almost certainly, more than Cherubini's Medée had by that year) all over the world, from what was then Russia to several Latin American countries and even New York City. It never did make it's way to Austria, France, Germany or Great Britain, but, if this recording gets the wide dissemination it deserves, that is likely to be remedied, as more and more opera directors realize Medea's tremendous potential.

It might seem almost blasphemous to suggest to a generation that grew up on Callas (and successors) singing the Cherubini Medée, that there actually is a better and more exciting opera on the subject. But, at the risk of having everything but the kitchen sink thrown at me from all over the world, that is what I am about to do. My reasoning is quite simple--Cherubini's opera is just fine when you have a Maria Callas to sing it. But later versions have tended to fall flat-perhaps because it is so much a one woman show. This is not true of the Pacini Medea. It is much more melodious than Cherubini's (not surprising since, as is now beginning to be recognized, Pacini was one of the all time great melodists), and, perhaps even more importantly, it is more musically balanced, and not as dependent on one star soprano. It is a work in which there are two great duets (one each for the prima donna with the tenor and the baritone), effective arias for all the principals (especially Medea's stunning final scene), as well as some magnificent ensembles and choruses.

I am tempted to say that Medea sounds like middle period Verdi-but would prefer not to do so. It is time that Verdi's contemporaries were praised for their own achievements, rather than, as is too often done, that the highest compliment paid to them is that they are reminiscent of Verdi. Also, as Alex Weatherson so correctly states in his excellent notes, who initiated what and when in nineteenth century opera is still a closed book. But we must remember that not all of the important ideas originated with the best known composers.

The performance is pretty standard for the first attempt at reviving a long forgotten work. It is centered around the fine Polish soprano, Jolanta Omilian. She might not be a Jane Eaglen (who sang Medea in the wonderful Opera Rara recording of Mayr's version) or a Cecilia Gasdia, but she comes close-and does a wonderful job. The bass, Marcello Lippi, who sings Creonte (actually a baritone role) is quite authoritative. Even the tenor, Sergio Panaja, a last minute replacement for an indisposed Marco Berti, while probably the weakest link, is more than acceptable. The presentation does leave something to be desired, there are quite a few cuts, especially in the choruses and the ensembles. An English translation of the libretto would also have been a distinct plus.

To return to the music, it is an eye opener. Knowing how successful many of his operas had once been, I had long been interested in hearing more of Pacini. Based on the two operas I was already familiar with, I expected a great deal from this recording. But I did not expect the combination of dramatic confrontations in the two great duets and gorgeous melodies elsewhere in the score. If anything, hearing this wonderful piece as well as L'Ultimo Giorno di Pompei increases my hopes that the next few years, opera houses and festivals all over the world will be induced to start a Pacini renaissance. It should unearth countless long forgotten treasures.

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