Greece’s ancient theatre of Epidaurus has revived Luigi Cherubini’s opera *Medea* for a one-night performance, reopening a chapter last active 65 years ago when the iconic soprano Maria Callas originally starred in the role. The production, which marks the opening of the 2026 Athens Epidaurus Festival, seeks to pay tribute to Callas’s 1961 landmark performance while offering a contemporary interpretation.

Italian soprano Anna Pirozzi takes on the title character, emphasizing her intention to honor Callas’s artistic legacy without replicating it. “I don’t want to copy or imitate Maria Callas,” Pirozzi said during a recent dress rehearsal, noting that she has adopted select gestures from the renowned soprano, drawn to their dramatic impact. Cherubini’s *Medea*, first performed in 1797 and inspired by Euripides’s tragedy, had largely faded from public attention until Callas’s revival nearly six decades ago rekindled interest in the work.

Director Panaghis Pagoulatos highlighted the continuity between Callas and Pirozzi, observing that both share an “artistic truth” characterized by sincerity in singing and acting, despite differences in personality and vocal timbre. Giorgos Koumendakis, director of the Greek National Opera, described the original 1961 production as “legendary,” remarking on its significant international acclaim. The effort to recreate it involved three years of intensive research, including the study of original notes, costume designs, and stage plans to faithfully reproduce the original staging.

The production team faced challenges stemming from the absence of any surviving video recordings of the 1961 performance, relying primarily on black-and-white photographs and archives from director Alexis Minotis and artist Yannis Tsarouchis, who initially designed the costumes and sets. Preservation concerns also shaped the staging at the archaeological site, where every stone seat in the ancient theatre was covered with wooden casings to prevent damage.

Costume restoration and reproduction posed further difficulties. Approximately 150 garments from the original production have survived, with some integrated into the revival. Baritone Tassis Christoyannis, portraying Creon, will wear his character’s original 1961 costume. Costume supervisor Tota Pritsa noted the challenge of sourcing authentic materials, such as silk jersey, now obsolete, and detailed efforts to replicate the look of aged textiles through repeated washing. She praised the vibrancy of the original costumes under sunlight, an effect that Pagoulatos said made it hard to distinguish between original and newly made pieces during rehearsals.

In addition to the performance, the Epidaurus site is hosting an exhibition dedicated to the August 1961 *Medea* presentations. One notable change in the current production is the reduced number of extras on stage; unlike in 1961, when soldiers completing military service were recruited to fill the orchestra with a large cast, modern constraints have limited the number of participants. “Back then the stage was packed,” Pagoulatos remarked. “Today, we can’t simply go to a barracks and ask everyone to perform in the theatre.”