From Geoffrey Hargreaves: In Apollonius, Medea, as always, the superfluous female, is sidelined at the royal palace, watching her merciless father impose fatal tasks on Jason. A desperately lonely teenager, she feels her heart break for the handsome stranger, but there is also a spurt of joy that here at last is another human being who needs her. For his need of her, she will now make any sacrifice necessary. He has never spoken to her, maybe never even noticed her, but the needs that only her skills can answer are enough for her to abandon all she has in order to save his life. (Hence her tragic rage later when, after she has sacrificed family, position, and nation for him, he reduces her again to superfluity, by leaving her for another woman!)
From Leila Lustig: The singer is required to be an actor as well, creating the voices/gestures of the different characters. I chose the instrumentation according to what scholars have been able to recreate from the time in which this story is set.