Medea, in her rage, concocts a plan to murder Glauce and, to hit Giasone where it hurts the most, kill her children. But at every turn, she is rejected as a monstrous witch and told that she has one day to leave in one day or she will face certain doom. But Medea, who has lost everything after giving herself over to Giasone, won’t relent and begs for reconciliation so that their family, which includes two children, can be together. After acquiring the Golden Fleece, Giasone has left Medea in order to marry Glauce, daughter of Creonte. Written by François-Benoît Hoffmann, the work was based on the famed Euripides play and “Medée” by Pierre Corneille and is rather razor sharp in its dramatic layout. The opera, which premiered in a French version back in 1797, was a major hit throughout the 19th century (with numerous translations, including the Italian one on offer at the Met) until it fell into seclusion, only to be rescued in the 20th century by one Maria Callas, whose interpretation remains the touchstone to this day. The Metropolitan Opera opened its 2022-23 season with the company’s first-ever performance of Cherubini’s “Medea.”

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