Marie-Nicole Lemieux is currently performing the role of Médée in Montpellier as part of a tour across France and Belgium. The opera, Médée by Marc-Antoine Charpentier, is being conducted in a concert version by Stéphane Fuget, marking the start of the operatic season at the Opéra-Comédie de Montpellier. Médée is considered a unique piece within the post-Lully lyrical tragedy genre and is the only tragedy composed by Charpentier. It received a mixed response when first performed, possibly due to its blend of Italian influences with the French style. The ancient myth of the sorceress Médée, wife of the hero Jason, is reimagined by Thomas Corneille, with a strong focus on the psychological depth of the characters. Since the revival of Baroque music in the 1980s, new versions of Médée have become more common, with notable interpretations by conductors such as William Christie, Emmanuelle Haïm, Hervé Niquet, and Leonardo García-Alarcón. Following his acclaimed Monteverdi trilogy, the ensemble Les Epopées returns to the French Baroque era, having previously performed Alceste by Jean-Baptiste Lully. Stéphane Fuget chooses to omit the prologue, moving directly into the tragedy to enhance dramatic intensity. A concert version of such a work may seem unconventional, as the characters remain fixed behind their stands, requiring the audience to focus on the musical expression. The orchestra becomes more prominent, and it is clear that in Charpentier, the orchestra acts as a true participant in the drama, not just a background accompaniment. The music features a dialogue between the large choir and the full ensemble, and the small choir composed of continuists (one violin bass, two violas, two theorboes, and one harpsichord). The violas and the harpsichord and theorboes perform the chords, enriching the recitatives with a more colorful instrumental texture. The role of the winds is also significant, although the natural trumpet used in battle scenes lacks precision. In Act IV, the flutes, accompanied by a delicate bell, create a gentle atmosphere reminiscent of Lully's sleep scenes. In Act III, during Médée's invocation of the Spirits ("Noires filles du Styx"), the orchestra reaches its expressive peak, with remarkable harmonic inventiveness. Marie-Nicole Lemieux seems to be the ideal interpreter for the complex role of Médée, showcasing a wide range of vocal expression from tender love to explosive vengeful hatred. Her performance in the tender arias, such as "Quel prix de mon amour" in Act III, is particularly moving. In the following act, the aria "Dieu du Cocyte," where Médée implores the demons, features sumptuous pianissimi on a muted string tapestry, accompanied by the drum, with violins producing true chromatic moans. Lemieux compensates for minor shortcomings in text mastery with a strong stage presence and a performance that adds a touch of humor in the most dramatic moments. While Jason's role may seem less compelling, the contrast is intentional and accepted. The young Czech tenor Petr Nekonarec brings a luminous voice to the contradictory hero, while Etienne Bazola gives Oronte a strong presence. Frédéric Caton, however, lacks power in the role of Créon. The young mezzo-soprano Juliette Mey, a revelation at the Victoires de la Musique 2024, delivers a moving performance as Créuse. The final duet with Jason ("Faut-il nous voir séparés à jamais?") is a success, with the orchestra's pianissimi adding emotional depth to her death scene. The Chœur de chambre de Namur delivers outstanding performances in the French Baroque recitations, with six members contributing successful solo interventions. While the conducting by Stéphane Fuget is energetic, it lacks some precision in the direction of the tactus and the violins are not always well coordinated. The performance still needs refinement and should improve with each showing.