Tsippi Fleischer

MEDEA: An opera in seven scenes for mezzo-soprano and four instrumentalists

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Discussing “Medea”
The fourth scene is brilliant, mostly because of mezzo-soprano Isabel Ganz’s ability to interpret both Medea and Jason so that they sound as if produced from the throat of two different singers. Although it is known that Ganz portrays both roles, it is still difficult to grasp this – she does an excellent job in the double role.
In the last scene, the citizens of Corinth turn to the playwright and ask him to tell the tale as they wish. “All is in the hands of the gods” he answers, after some thought.
The gods, in any case, apparently smile upon Fleischer, who has lately signed a contract with the esteemed record company ECM.

Asher Azrielov, MUSIKA, Issue No.4, Winter 1998

The story of Medea has attracted a number of composers over the centuries, but no one, I believe has taken the sympathetic view of her that Fleischer and her librettist, Rivka Kashtan, offer. This is at once poetic, thought-provoking, and dramatically effective. Here, Medea gives her side of the story.
Fleischer, as she has consistently done, draws on diverse ethnic styles and compositional techniques to ultimately create her singular musical language.
Isabelle Ganz, a master of contemporary vocal techniques, sings the formidably difficult role of Medea with fine diction, seeming ease and authority as she creates this conflicted, human character.

June Ottenberg, IAWM Journal (International Alliance of Women in Music), Vol. 4, No. 2, Summer 1998


CD Track List - "MEDEA: An opera in seven scenes for mezzo-soprano and four instrumentalists"

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Scene 1: Medea remembers Play

Scene 2: The citizens of Corinth mock her Play

Scene 3: As a mother Play

Scene 4: Medea and Jason Play

Scene 5: The cathartic aria Play

Scene 6: Corinthians’ mockery escalates Play

Scene 7: Medea in the depths of despair Play

Epilogue Play