After Bach’s Passions, Handel’s Theodora is the perfect work to hear on Easter Weekend. It is a profound meditation on sacrifice and faith that transcends most of his other English-language oratorios by virtue of its humanity. Thomas Morrell’s libretto depicts not heavenly grace but earthly sacrifice, and the story’s devotional honesty inspired its composer to music of aching beauty. It’s a score that finds God in compassion.
In 304 AD a Roman officer, Didymus, is advised against wooing the virtuous Theodora because of Diocletian’s persecution of the early Christians. Emboldened by love and strengthened by his conversion to Christianity, he stands up to the ruthless Emperor Valens before joining his beloved in martyrdom.
Christian Curnyn’s intensive week of preparation with the Britten-Pears Baroque Orchestra yielded transcendent results: pairs of haloed flutes, subtle theorboes and immaculately controlled natural horns complemented as cohesive a string section as one could hope to hear. Across a long evening the ensemble had a flair whose conviction filled the heart.
Where singers were concerned things were less straightforward. As a group of 16 they sang the choruses with thrilling attack and collective virtuosity, even if the distinction between Christians and Heathens was sometimes pot luck. As soloists (they all got at least one aria) they provided a mixed experience. Moreover, I couldn’t help but wish that Handel had written more for the tenor, because the four on offer were all pretty sound but had to share some very slim pickings.
We’re talking about students and young professionals so I’ll be wary about bandying names. Here instead, in a nod to last weekend’s Glyndebourne Opera Cup and as a means of cutting to the chase, is my roll of honour.