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Katarina Ikonomou the first Medea
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I have been composing music from ancient dramas since 1960, when I wrote the music for Euripides' «Phinises».
Since then I have dreamt of setting to music not only the usual choral parts, but a whole tragedy. Was this not done in ancient times? But before beginning this great enterprise I had to whet my blade.
So five years ago I decided to compose my first opera, with my own dialogues. This was «Kostas Kariotakis» or «The Metamorphosis of Dionysus», based on the life, poetry and tragic death of the great Greek poet Kostas Kariotakis (1986-1929).
Later (in 1986), the management of the Verona Opera asked me to compose a symphonic ballet on the themes of my «Zorba» songs. That is how the new «Zorba» came about: it was presented at the Arena di Verona in 1988 and 1990.
Having always been accustomed to symphonic music, I had set aside within myself the charm and force of opera. Feeling remorseful for this, I declared after «Zorba» was first staged, that from then on (though in fact it was a little later) I would work only with this kind of music, and would compose a «Medea» in honour of Verdi, an «Electra» in honour of Puccini and a «Hecuba»*) in honour od Bellini.
Medea
For two years I worked hard. I translated Euripides' text into modem Greek, making very few changes.
I introduced a male chorus to join the female one, with soldiers, citizens, etc. , in order to hove a four part mixed choir .
From then on I strained to the utmost alI the melodic talent I have in my effort to follow Euripides into the labyrinths of his analysis of the depths of the human soul. This was the basic element which led me to choose «Medea» .
I believe there can be no more exciting task for either the composer or the writer than to follow the interminable changes of human personality at the exact moment when man finds himself face to face with his destiny.
The barbaric, exiled woman, passionate in love and dishonoured by her husband, the mother who adores her children and cannot accept the shame of exile, the woman who is led to the heights of passion and kills her own children: alI this becomes perhaps someting more than a human tragedy.
Did Euripides in this work seek to upset his «civilized» Athenian compatriots when they were far along the road to decadence?
I am happy, because a work of this musical and scenic dimension has the fortune to be acted with love. The essential protagonists gave themselves up whole heartedly from the very beginning of the work. First, «Medea» - Katerina Ikonomou - who has a very tough role as leading lady, because for almost three hours she not only sings and acts out the music but also, and this is most important, she has to identify herself with the fate of the most wretched, tragic and unhappy woman who ever lived on the face of the earth.
This work is staged by Bilbao's Teatro Arriaga with great love, and it was this that led me to entrust the debut of this work to the management of this theatre. The management put alI possible means at the disposaI of the work in order to stage the best possible showing of «Medea» .
I also found the same affection in the two essential figures in the staging of my opera: I refer to the great scenographer Luis Iturri and to Lukas Karitinos, the ideal person to interpret my symphonic music. I thank them alI from the bottom of my heart.
© MIKIS THEODORAKIS
Athens, June Ist 1991
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