Handel’s ‘Theodora’ Generously Served By Bicket Forces

The English Concert, above, is presenting Handel's oratorio 'Theodora' on tour with the Choir of Trinity Wall Street.  (Photo by Richard Haughton)
The English Concert, above, is presenting Handel’s oratorio ‘Theodora’ on tour with the Choir of Trinity Wall Street.
(Photo by Richard Haughton)
By John W. Lambert

There was a time when if anyone mentioned Theodora, the response would inevitably have been, who? How times have changed! The English Concert, which bills itself as “Europe’s leading baroque orchestra,” is actually touring Handel’s oratorio, and it stopped in Chapel Hill on the icy-cold evening of Jan. 30 for a presentation in the University of North Carolina’s Memorial Hall. Next is Carnegie Hall, New York, on Feb. 2, followed by Birmingham and London, England – and then Paris.

Harry Bicket leads 'Theodora' from the harpsichord. (Richard Haugton)
Harry Bicket leads ‘Theodora’ from the harpsichord. (R. Haughton)

Note that they are playing all these locations with the same chorus, which happens to be one of New York’s finest: the Choir of Trinity Wall Street, an Episcopal Church established in 1697, 15 years before Handel landed in London. (Think about that.) The choir director is Julian Wachner, and one must say that he and his singers represented the Yankee side of this trans-oceanic artistic partnership exceedingly well. (In Chapel Hill, at an historic church, the choir gave a concert the night before Theodora, attendance at which was said to have been little impacted by the adverse weather that had hit Central N.C. the day before.)

Theodora, generally considered Handel’s penultimate oratorio (omitting pastiches and re-workings; it was premiered in 1750), is not often heard but is far more readily available for listening now than at any time in its 264-year history, thanks to recordings and the Internet. Still, there’s nothing like a live performance, and this run is of particular note, given the HIP (historically informed performance) approach being employed. Period-instrument readings of full-evening works by Handel are relatively rare in the Tar Heel State, although North Carolinians who travel may certainly find them elsewhere from time to time (in Boston, for example, at the Boston Early Music Festival, for openers.)

Handel in 1741, nine years before 'Theodora.' (Thomas Hudson)
Handel in 1741, nine years before ‘Theodora.’ (Thomas Hudson)

The libretto, by the Rev. Thomas Morell, is based on a novella by Robert Boyle, remembered chiefly for Boyle’s Law – he was a quasi-Renaissance man, for sure. The plot centers on the martyrdom of the virtuous  title character, a Christian, and a Roman Christian convert, Didymus, enamored of  Theodora, both of whom die when they decline to offer sacrifices to Jupiter (well, Venus and Flora), as ordered by Valens, the governor of Antioch (where followers of Jesus are believed to have first been called “Christians”). Septimius serves as the enforcer and go-between for most of what action there is. Groups of Christians and Romans (the libretto calls them “Heathens”) are represented by the choir. Along the way there are twists and turns such as a threat of forced prostitution in lieu of death for Theodora. In retrospect, it’s not the sort of tale that would have engendered widespread popular enthusiasm in London, and never mind the several earthquakes that preceded the performances. No wonder ticket sales were poor at its premiere.

German soprano Dorothea Röschmann sings the title role. (Jim Rakete)
German soprano Dorothea Röschmann sings the lead. (Jim Rakete)

The solo singers were uniformly excellent: Dorothea Röschmann (Theodora), Sarah Connolly (Irene), David Daniels (Didymus), Kurt Streit (Septimius), and Neal Davies (Valens) are likely at the tops of their respective games. Could a better, more balanced and more compatible cast be mustered anywhere?

The choir itself gave constant delight in terms of precision, clarity, definition, balance, and enunciation. (The texts were given in the program and also projected as flawlessly timed supertitles, but only rarely did one need them, so good was the diction by all concerned.) The exceptional purity of the choral singing was definitely a highlight of the evening, as was the work of the orchestra exemplary in every way, more than meeting every expectation of the ensemble’s advanced billing. This HIP band tuned before each act but then managed to sustain true intonation in ways that surely amazed even those listeners who had heard lots of early-music ensembles. The warm and rich sound belied the relatively small number of players, who managed surprisingly wide (albeit subtle) dynamic ranges, as well as ear-catching textures and tonal colors that modern orchestras simply cannot emulate.

As in many works by Handel, there are discrete borrowings from other composers; these may readily be looked up in scholarly treatises. Theodora has some overtones of other Handel oratorios, too – Saul came to mind more than once, and the artistic structure of Act II, in particular, reminded this listener of the second part of Julius Caesar in its progression of increasingly magnificent vocal delights.

Bicket, mostly working from the harpsichord (borrowed from UNC’s Music Department), proved himself a subtle conductor and inspiring leader throughout, ever watchful, totally attuned to the requirements of the score and the needs of his soloists and the choir. Balance was never an issue – no, not once.

David Daniels is Didymus, in love with Theodora. (Robert Recker)
David Daniels is Didymus, in love with Theodora. (Robert Recker)

The tone was set with the “French” overture, our first introduction to the wonders and delights of the English Concert’s exceptional abilities. There ensued far too many highlights to cite them all.  They included, in Act I alone, the tenor’s “Descend, kind pity,” the mezzo’s “Bane of virtue” and “As with rosy steps,” the soprano’s heartfelt rendering of the popular “Angels, ever bright and fair,” and the countertenor’s resolution to rescue Theodora, “Kind Heav’n, if virtue be thy care.” Act II proved to be a sequence of ever more enchanting musical treasures, and with several significant orchestral enhancements, capped by a radiant duet and the chorus Handel is said to have stated was his very best work.

Act III brought the evening’s highest drama with the bass chewing up the carpet (figuratively, of course), the tenor veering toward forgiveness, and the couple affirming their belief that virtue will be  rewarded in eternity. The mezzo gets the last word – “…love is stronger far than death” – and the chorus sang the somber farewell that exudes little temporal consolation. Overall, the energy never seemed to flag on the stage, nor did the enthusiasm of at least some listeners wane in the hall, which is one of the region’s better rooms for moderate-sized productions.

But was it altogether too much of a good thing? Some members of the audience clearly thought so, as a few folks faded away at the first intermission and then more, at the second. Maybe Stravinsky was correct, in retrospect, when he (famously) said of Theodora, “It’s beautiful and boring. Too many pieces finish too long after the end.”

This performance proved the Russian wrong. To have heard Theodora like this, by these artists, was a rare treat for devoted music lovers, one about which we may hope to tell our grandkids in years to come. A trip to New York to hear it again on Feb. 2 would not be a bad idea at all.

Note: At the pre-concert talk, Bicket announced that his Carnegie Hall series, begun last year with Radamisto, will continue next season with Alcina. Stay tuned!

John W. Lambert is the former executive editor of Classical Voice North Carolina.