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56 of 61 people found the following review helpful:
5.0 out of 5 stars
Magnificent and Powerfully Moving, September 10, 2004
Peter Sellars sets the production in (around) the present and while several things may
not make literal sense (e.g., an American president condemning a virtuous Christian woman to a sentence of prostitution at the Temple of Venus for not worshiping Roman gods), the contemporary setting for the most part is powerfully effective.
Save for carry on props (chairs, etc.) the only "set" is an ever changing setting of enormous stressed antique Roman tear bottles. Profoundly simple and beautifully capturing the feel of the "ancient" in this updated setting.
Frode Olsen's President Valens opens the work declaring that his gods are to be worshiped and his happy followers (each carrying an American soft drink, which I thought to be a minor unfortunate directorial choice) rouse and begin the first of the big hand gestures which will occur throughout the rest of the night. For once Sellars' use of hand gestures not only appropriate but excitingly useful. Olsen's rather large voice was exciting and reminded me a little of Triegle's turn as Giulio Cesare.
As two of the president's main guards, David Daniels (Didymus) and Richard Croft (Septimius) are magnificent. While much is written about Daniels, I have for years been amazed by the sheer beauty of Richard Croft's voice. I have always been a fan, and his singing here evoked beautiful memories of a Semele a few years back where his "Where 'er you walk" won the prize for the most beautiful singing I've experienced live.
It is nearly impossible to separate Sellars direction of "Theodora" from the vocal performances - there is so much going on, indeed, the entire work achieves a nearly balletic performance. I would imagine it, in our era especially, to strip sexuality from a stage work, to be extremely difficult. Sellars, early on, establishes same sex bonding, first between Didymus & Septimius, later Theodora and Irene with such beauty, gentleness and honesty that later, when men and women are touching it is never
perceived as sexual - rather compassion.
One of the most beautiful of images occurs during Septimius' aria "Descend kind pity, heavenly guest." Sellars has created a pas de deux between the two soldiers Croft alone singing, imploring heaven's pity. At the downward scale sung on the word "descend" Didymus' arms repeat a falling motion finally encircling Septimius. When Septimius faces up and sees his fellow soldier he is startled, profoundly touched, wiping tears from his eyes. We witness a bonding deeper than either foreshadowing the compassion and highlighting the similarities between these two different men. It doesn't hurt that Croft sings with the most ravishing tone one is likely to ever encounter in this role.
Late his bravura aria "Dread the fruits of Christian folly" lets him sing what may be the fastest coloratura I've heard a tenor execute. His performance, as well as Lorraine Hunt Lieberson are the highlights of this extraordinarily beautiful evening.
Of Ms. Hunt, all I can ask is: has there EVER been a better singer of this type of music? Her Irene is simply an overwhelmingly powerful presence. Sellars has cast Irene as the leader of the Christian sect to which Theodora belongs. She is obviously and passionately devoted to her congregation and it is clear this community would follow her to the ends of the world. Irene has some of the best music in "Theodora" and Hunt sings
it with such passion and aching beauty, nowhere (for me)more than in "As with rosey steps the morn. This is one of Handel's most exquisitely beautiful arias and Hunt's singing of this is simply ravishing. She is up to big coloratura work in "Bain of Virtues" and her ornamentation in the di capo is thrilling stuff.
Dawn Upshaw's Theodora is one of the best things she's ever done. The image of her, in simple white, rising from her chair at what looks like a prayer meeting is a stunning image as she begins her aria "Fond flattering world adieu." Her voice was built for this type of slow Handel aria. Sellars gives her some of the grandest arm/hand gestures of
the cast and Upshaw's execution of them was believable - never once looking artificial, rather as if merely another extension of the music. "Angels ever bright and fair" provides another stunning visual moment - when Septimius, with his soldiers, reluctantly but dutifully leads her away to "that vile place." The arresting image of Theodora in virginal white, and the soldiers in their orange riot gear is hard to forget.
The prison scene, a darkened stage with a large yellow square representing her cell finds Theodora in a red bathrobe over a white slip. Upshaw's movements become Martha Grahams all tortured angles and match the coloring of her singing. Foregoing her typical pure sound Upshaw is unafraid to emit painful, frightened sobs and frenzied hyperventilating, unifying physical and vocal performance into a dramatic whole. The image of her on the floor, palms and feet extending upward, robe barely wrapped around her magnificently projects the image of a renaissance saint ascending to heaven.
William Christie and the Orchestra of the Age of Enlightenment and the Glyndebourne chorus are completely "on" throughout the entire performance. I cannot recommend this videotape highly enough. What lucky audiences Glyndebourne had for this magical production. A wonderful achievement by all involved.
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30 of 32 people found the following review helpful:
5.0 out of 5 stars
Oratorio as Opera Seria: Bold, Brilliant and Beautiful, August 29, 2004
This one rattled the purists a little. Director Peter Sellars moved the story George Frideric Handel's Oratorio Theodora from ancient Rome to modern day America and made an opera out of it. That was a bold move. An Oratorio is basically a choral concert with soloists. This is anything but. It worked though. The work is about oppression, its causes and the effect on people on both sides. The staging enhances the drama and themes are always clear.
Valens' actions make his nature obvious. He's a small and vindictive shell determined to beat the world into believing he's more. The actions of Septimius and Didymus make it clear their loyalty to their nation stands in contrast with their contempt for Valens' cruelty. Theodora, Irene, and Didymus stand as people liberated by their choices. The music, the staging, and the people cast in their respective roles keep all this as clear as crystal. Frode Olsen's portrayal of the despot Valens is so concise that it was hard to rate his performance objectively. Tall, handsome and charismatic, he ends up being the perfect charlatan with no substance. His drunken tirade at the beginning of the second act is fabulous. Tenor Richard Croft excels as Septimius, the weaker willed of the two centurions. His portrayal is thought provoking to the point where it forces the viewer to question what he or she would do in a similar circumstance. Countertenor David Daniels is marvellous in the role of Didymus. His character is strong but gentle. It's something he conveys well, both with his body language and his singing. Dawn Upshaw is brilliant as Theodora. Like Didymus, her character is an example of the strongest being the most generous of spirit. Theodora is brave but though oppressed wishes harm to none. Dawn Upshaw has an inherently gentle quality in her voice. It suits this character well. She's a terrific actress as well, one who appears to feel everything she conveys. The one who stands above everyone else however is Lorraine Hunt. This lady is phenomenal. Her voice is full and strong in all ranges. Her 'mezzo' notes are deep and broad. Her high notes soar across the heavens. Her passion is magnificent. She lives every note she sings. Her performance here stands as one of the best I've seen in any genre. If her performance of "To Thee" at the beginning of Act III doesn't melt and rend your heart you haven't got one.
Handel was proud of this work. He felt it was his best. This performance of it makes a strong case for that sentiment. William Christie's tempi combine the best elements of the grace and strength in the music. The Orchestra of the Age of Enlightenment gives all that could be asked and more. Their playing is impeccable. The singing, as stated already, is fabulous.
The only complaint with this DVD lies with its chapter breakdowns. The menu is limited. Scenes rather than individual numbers divide the work. There's also only one audio track. These are small complaints though. The odd chapter divisions are a small price to pay for this performance. The audio track (two channel Dolby) is exceptional. Everything is crystal clear. This truly is the next best thing to seeing it live.
I first ran into "Theodora" about a dozen years ago. Like many I knew "Messiah" and some of the other favourites but knew nothing of the piece. An ad about a complete recording with a notation about this being Handel's "favourite of his works" caught my eye and after that a little voice wouldn't quit. It was the McGegan recording (which also featured Lorraine Hunt, that time as Theodora) and I bought it without having heard a note. It was a good decision. The beauty of this music is indescribable. Handel must have put every good idea he had and all his effort into it. "Messiah" may be the most famous (and that fame isn't unwarranted), but, for the best from Handel, this may be the place to go.
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20 of 21 people found the following review helpful:
5.0 out of 5 stars
Astounding Theodora, February 5, 2006
Those who have provided some very negative critiques, based solely on the staging might do well to remember that this English oratorio, performed three or so times during Handel's lifetime, was never intended for staged performance. So, Peter Sellars has created a brilliant analogy with issues that we all currently face. Tolerance in the face of differing beliefs, more than proselytism, seems to fuel Sellar's powerful take on martyrdom. The choreographed gestures, not so dreadfully unrelated to the codified gestures that made up 17th and 18th century theater and oratory technique are riveting. The minimalist set, five Roman tear bottles (human-sized, of course) are wonderfully lit.
On to the singing. Here, we are in the realm of the finest Handel ever committed to recorded form. Dawn Upshaw, in the title role, can seem rather mannered vocally (a bit of Broadway creeps in now and again), but is admirably engaged and moving. David Daniels is beyond any reasonable doubt the finest counter-tenor in the relatively brief history of the art. His breath control is one of the finest of any singer today, and the sheer, silvery beauty of the voice in all of its registers should convert (bad choice of words?) any doubters. Lorraine Hunt Lieberson packs an emotional wallop that will not soon be forgotten. Her incarnation of this early Christian Church leader is amoungst he most fully inhabited performances ever to be seen from an operatic performer. Her voice is astoundingly powerful, yet agile. As certain online critics have rightly said, Richard Croft is beyond wonderful as the non-believing, but righteous, soldier, Septimius. The purity of his voice brings tears to my eyes. His version of "From Virtue Springs" is the finest thing I have ever heard from a Handelian tenor. Dramatically, his intensity is nearly painful. Finally, Frode Olsen makes a dandy basso-villain, and manages tto bring just the right glimmer of menace, with a small touch of humanity shining through.
I do wish that the tracking would follow the pieces in the work. That is a fairly minor complaint, as this is a beautifully filmed production. Highly recommended...
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