This performance was given in concert at Carnegie Hall and the score was abridged pretty severely. I can't even say all the big moments are here. The end of Act Two with Medea snarling against an offstage chorus is completely cut and we move from the duet between Giasone and Medea to the orchestral introduction to Act Three. Since the first 35 minutes of the opera are generic and formulaic not too much is missed there. Laurel Hurley at least brings star quality to Glauce's one aria (she adds some extra high notes to the end of it).Farrell not only sings the blazes out of the music, but brings fire and passion to the scorned sorceress. Listen to her final line as she runs into the temple to murder her children (it's in the excerpt above). Some insist Farrell was a passive actress on stage - not here. She gives a certain Greek-American soprano a run for her money! McCracken sings just as passionately as Farrell, joining her on the top C at the end of Act One. Scott sings a dignified Creonte and Lipton handles what's left of Neris' part with great skill. Arnold Gamson leads a hot performance that had cooled considerably by the time the studio excerpts were recorded (I love that someone screams offstage as Glauce is being cremated by Medea's poisonous diadem).The sound is very listenable, but transfered from worn LPs or transcription discs. There are a few pops and skips along the way as well as some worn groove noise. But this is an exciting performance!

The tally of signature roles La Divina never assayed in the United States is long. No doubt to the dismay of her devotees on both coasts, her historic Medea never made it beyond Dallas. At Carnegie Hall, however, Eileen Farrell offered an incandescent alternative, in magnificent company. Of particular note: James McCracken's Jason, aquiver with tragic fury.

Nice singing. Farrell is very convincing Medea. It is interesting to hear McCracken as Giasone. Others are fine also. Orchestra and chorus of American Opera Society are very good under Gamson.

Great