Theodora, Handel's Oratorio in Royal Opera House, 12/02/2022

Much anticipated performances of this less-known Handel's Oratorio Theodora, with the stellar cast, have certainly filled the Royal Opera House's auditorium. Although I have received a warning email that this performance was recommended for an audience over the age of 16 and there would be some "explicit presentation of scenes of sexual violence, harassment, exploitation and evocation of themes of terrorism", I was intrigued and curious to see it and - of course - to see and listen to Joyce DiDonato.

Well, I've read several reviews on Theodora and they are (as I would expect) controversial. Some critics take the stagging positively, others less so. Nevertheless, all of them agree that musically - it was a treat. I personally struggled to see its relevance to the music. First of all, as per the genre itself - it is an oratorio, not an opera - and as such, it would probably be better performed (in my opinion - and some other critics too) on stage (soloists and choir) without unnecessary stagging. As pointed out in the linked article, there was not that much of a story to tell, and yet the singers were kept long time on stage without singing, only repeating some actions (cleaning, preparing stuff) to justify their presence. In some lengthy arias, the "acting" or stage-movement became boring and empty.

From the spectator's point of view: performing this Oratorio in more open space would have also done better justice to the sound. The settings: the kitchen full of metal appliances and furniture as well as closed spaces (rooms) did not help to project the music effectively. On the contrary - I was sitting in the upper part of the Auditorium (Amphiteatre) and sometimes struggled to properly enjoy the sound - the metal surface of the kitchen failed to provide an appropriate environment to carry the baroque music respectfully. The sound (in closed "rooms") was suffocated, and did not fill the Auditorium as it should have. I also noticed that the choir must have had some difficulties to see the musical director's promts, as there were sometimes slight imperfections in sync with the orchestra.

The cast was, indeed, excellent - beautifull singing and engaging with the roles and baroque style: not only Joyce DiDonalo (Irene), but also Julia Bullock (Theodora), Jakub Jósef Orliński (Didymus) and Ed Lyon (Septimus). The choir and orchestra did very well too and the whole musical piece was a rare treat. However, the sexual scenes and the contemporary context were not only unnecessary but disturbing. Sometimes, I preferred to closed my eyes and listen rather than watch, though the Pole-dance was a first class.

I am happy to have seen it and experienced it, but just don't think the supportive feminist stance should be taken or expressed through an art piece, if they were not there in the first place.