With the title role in Luigi Cherubini's "Medea", Ilia Papandreou returned to the Erfurt theatre in November 2017, thus "adding another triumph to her career" (Thueringer Allgemeine, November 13, 2017). "Vocally, she is the actress who dominates all," says Larissa Gavritschenko and Thomas Janda (Der Neue Merker), "she not only plays her role, she lives her role with great persuasiveness."
First performed in 1797 in Paris, increasingly forgotten in the 19th century and finally anchored in the international operatic repertoire by the interpretation of the "Diva assoluta" Maria Callas in the mid-20th century, Cherubini's "Medea" is one of the most demanding parts for dramatic sopranos. "Everything crucially depends on Medea," Daniel Hirschel states in his premiere review of the "Medea" production in Erfurt: "By Cherubini considered with the most numbers and almost the entire opera on stage, Ilia Papandreou delivers an emotionally touching role portrait - torn between genuine motherly love and irrepressible revenge, she misses no facet on this one hand, strong, self-sacrificing career woman and wife, [...] on the other hand, the mother that is full of doubts and genuine love for her children. Her always unforced, technically optimally arranged soprano has on the one hand the necessary profound drama and on the other hand the lightness indispensable for the chant français. "(Das Opernglas, 01/2018)
Dieter David Scholz (MDR culture) called Ilia Papandreou's "Medea" a "stroke of luck": "Your Medea is brilliant, both vocal and performative. The linguistic texts, too, are handled perfectly and touchingly only by her. "
Finally, for Roland H. Dippel (Concerti, November 11, 2017), with "Medea", Ilia Papandreou has taken another step on her way to become a "compelling singer actress": "Ilia Papandreou alone pleases Cherubini's exorbitant difficulties by being the only one to speak the dialoges. By doing so, she overcomes the overwhelmed international ensemble. brilliantly and the oversupplied international ensemble depends on it. She has considerable stamina for mastering the long vocal phrases [...] From her aria 'Chers enfants' on, everything is just right, from the great declamation to the steep attack. The lines make Médées furor, grief, hatred, hope, and finally child murder, a portrait of total failure. "