Handel’s penultimate oratorio began life under an askant star. Its premiere was given at the Covent Garden Theatre in London on March 16, 1750, but the work was preceded by a severe earthquake which hit the city a week earlier. An eye-witness to the quake thus described the dramatic event - “bells in several steeples were struck by the chime hammers; great stones were thrown from the new spire of Westminster Abbey; dogs howled in uncommon tones; and fish jumped half a yard above the water.” Not surprisingly many who could fled the city (likely including wealthy patrons of the opera) thus contributing to the somewhat paltry audience at the work’s opening.

In addition, Handel himself had forebodings regarding the appeal of his only work to be based on a Christian subject (other than the Messiah)  saying; “the Jews will not come to it (as to Judas Maccabeus) because it is a Christian story; and the ladies will not come because it is a virtuous one”.  It was only given three performances in that season. Composed in customary vigour (just one month in all), Handel himself had great affection for the work - though it was only revived once in a single performance during his lifetime, on March 15, 1755.

Unusually intimate in comparison with Handel’s earlier oratorios, Theodora presents peculiar vocal and dramatic challenges to each of its protagonists - not least the chorus in their contrasting roles.

Noted stage productions have included those in 1996 at the Glyndebourne and 2009 Salzburg Festivals - and now the work returns for the first time since its world premiere to the boards of The Royal Opera, Covent Garden in the coming year, staged under the direction of Katie Mitchell and featuring Joyce DiDonato as Irene.

The current cast for this concert version is illustrious, with the leads joining forces with Il pomo d’Oro (orchestra and chorus) under Maxim Emelyanychev, who has been the group’s principal conductor since 2016.

As Irene, Joyce DiDonato brought all the artistic tools to light up the house - which she truly did. Her integrity, musicianship, sense of style and drama, plus technical prowess elevate her intrinsic vocal capacity to reach out across the footlights and captivate. A stellar performance!

Taking the title part, Lisette Oropesa brought a charming, plaintive figure to the production - singing with polish and refinement, and ultimately winning the house after somewhat conservative applause throughout, in comparison with her mezzo colleague.

Michael Spyres deftly managed to contain an instrument of considerably greater substance than appropriate for this Septimus, phrasing with customary style and technically stunning in passages demanding extreme agility (and which were taken at none-too-modest tempi). His portrayal of the character remained a little on the drawing board and somewhat lacking in personality.

Didymus was originally written for the alto castrato Gaetano Guadagni who had enjoyed great success in both Handel’s Messiah and Samson (in re-written parts by the composer) - and who would go on to create the title role in Gluck’s Orfeo in Vienna. Counter tenor, Paul-Antoine Bénos-Dijan well-met the part’s vocal demands while doing much to create a credible dramatic figure in a nicely-rounded performance.

As Valens, John Chest gave an energetic, if occasionally blustery showing - yet a touch lacking in stage demeanour and confidence.

Il pomo d’Oro was founded in 2012. The chorus consisted here of four groups of four vocal categories - somewhat dominated in earlier sections by the lower male voice section, but settling as the evening continued to produce some well-balanced and potent contributions.

The instrumental section of the ensemble was homogenous and closely paired with events on the stage. The pit was raised to a degree that tonal balance between the vocal and instrumental contributions became an occasional issue (particularly in Part One) - and that despite the fact that their conductor seemed to favour a relatively modest approach in dynamics in favour of detail and texture. 

The final reception was deservedly enthusiastic - sending this Theodora further on its European tour which includes performances at La Scala, Milan and in Paris at the Théâtre des Champs Elysées.