Sixty-five years after its last opera, the ancient theatre of Epidaurus in Greece is staging a revival of Luigi Cherubini’s *Medea*, reopening its historic stage with a performance that pays homage to the landmark 1961 production starring renowned soprano Maria Callas. The one-night event, marking the opening of the 2026 Athens Epidaurus Festival, will feature Italian soprano Anna Pirozzi in the title role.
Pirozzi expressed respect for Callas’s legendary interpretation while emphasizing her intent to bring fresh perspective to the character. “I don’t want to copy or imitate Maria Callas,” she said during a dress rehearsal. “I admire how she interpreted the role and have borrowed some of her gestures because they are so dramatic.”
Cherubini’s *Medea*, based on the ancient tragedy by Euripides and first staged in 1797, had largely faded from the operatic repertoire until Callas’s acclaimed performances revived interest in the work. The 1961 production, directed by Alexis Minotis with original costumes and sets designed by artist Yannis Tsarouchis, remains renowned for its artistic impact and international recognition.
Recreating this iconic performance took three years of meticulous research, involving extensive study of original notes, costume designs, and stage plans to adhere closely to the initial production’s aesthetic. “The challenge was capturing the period’s aesthetic while ensuring it still felt relevant today,” said Giorgos Koumendakis, director of the Greek National Opera. With no existing video footage, the reconstruction team relied heavily on black-and-white photographs and archival materials.
Special measures were implemented to protect the ancient theatre, one of the world’s best-preserved. Wooden casings were placed over every stone seat to prevent damage during the performance. Costume preservation likewise required significant effort; about 150 garments from the original production have been maintained, with some incorporated into the revival. Baritone Tassis Christoyannis, portraying Creon, will even wear his character’s original 1961 costume.
Costume supervisor Tota Pritsa highlighted challenges in sourcing fabrics, noting that some materials like silk jersey are no longer manufactured and that some textiles underwent repeated washing to replicate the worn appearance seen in the original costumes. “The colours of the original costumes are incredible in sunlight,” she said, adding that distinguishing between original and newly crafted pieces proved difficult even for the production team.
An exhibition at the Epidaurus archaeological site accompanies the revival, showcasing elements of the original 1961 performances. One notable difference in the new staging is the reduced number of extras on stage. Whereas the original production recruited soldiers in active service to fill the ensemble, the revival has a smaller cast in part because such recruitment is no longer feasible. “Back then the stage was packed,” director Panaghis Pagoulatos remarked. “Today, we can’t simply go to a barracks and ask everyone to perform in the theatre.”
The revival aims not only to honour the artistic legacy of the 1961 production but also to bring Cherubini’s powerful opera back into the public eye, staged in one of Greece’s most historic cultural venues.