Handel has a Christian oratorio
OperaFirst performed in London in 1750, Handel’s penultimate work Theodora was written when he was in his early 60s. The only one of his oratorios based on a Christian subject, Handel and his librettist Thomas Morell moved away from the dramatic potential of the martyr’s legend and instead focused on the protagonist’s inner conflict, thereby creating a contemplative work about religious tolerance, Christian virtues and humanist values. This new approach inspired Handel to write a score of unprecedented musical introspection and he considered it to be his favourite oratorio. The score conjures up every musical colour and nuance to exalt virtue and faith. The composer alternates majestic pages illustrating the violence of the Romans with the compassion of the Christians. For director Stefan Herheim, this makes Theodora a beacon in the history of musical theatre which takes on new relevance against the background of the spiritual vacuum of consumerism and the lack of spiritual direction that characterise our times. The globally celebrated countertenor and Handel specialist Bejun Mehta debuts as a conductor at MusikTheater an der Wien with the La Folia Barockorchester. Jacquelyn Wagner sings the title role. Streamed by Slippedisc, courtesy of OperaVision.
The Plot: for Theodora, a princess who has converted to Christianity, earthly existence means nothing compared to the promise of eternal salvation. She disobeys the command issued by the Roman Emperor to worship Jupiter, preferring instead to die in the name of freedom of religion.
Subtitles in English and German
Available Friday 12th April 2024 at 1900 CET / 1800 London / 1300 NY
The only one of his oratorios based on a Christian subject?
What about the Messiah?
There’s also the Brockes Passion and La Resurrezione.
And although the other oratorios are based on Jewish or Classical stories they are all firmly Christian – the 18th century Christian mind saw both ancient peoples as essentially precursors to the modern Christian enlightenment and chose stories to fit the Christian message.
A big chunk of Messiah is taken from the Old Testament, the Book of Isaac, often read wrongly through a Christian interpretation! Theodore is different.
If the Christian reading of the Old Testament is “wrong”, who do you think Isaiah is referring to…
“Surely He hath borne our griefs, and carried our sorrows!
He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him.”
Isaiah 53: 4-5
Oh, who could it be?
The only libretto the Messiah has is the Word of God.
“Come unto Him, all ye that labour, come unto Him that are heavy laden, and He will give you rest.
Take his yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls.”
(Matthew 11: 28-29)
This would be problematic to the secular churches gone woke, not to mention the arts, so let the Messiah go…
I would have thought Messiah is based on a Christian subject?
Jewish!
Handel’s oratorio is now apparently about imperialism, sexual violence, and female empowerment. He and Morell might be surprised at what they unknowingly created.
Any musical theatre today is most likely anti-Christian, and about getting woke.
It is called: tolerance/humanism/true Christian values.
How about the Brockes Passion?
“The only one of his oratorios based on a Christian subject, …”
Well, … why don’t we make it “The only one of his narrative oratorios based on an explicitly Christian subject, …” ?
Messiah is a contemplative oratorio rather than a narrative one (as the term is usually understood), and I think the same is arguably true of La Resurrezione and the Brockes-Passion.
What is miraculous about Theodora is that the Christians are more interesting that the pagans (and clearly have the best music). I would argue it is the greatest work of art about early Christianity. The female cult leader Irene is one of the great roles in Handel, and the Hunt Lieberson performance recorded from Glyndebourne may be the most exciting performance of any type I have ever seen.
copans wrote, “the Hunt Lieberson performance [of Theodora] recorded from Glyndebourne may be the most exciting performance of any type I have ever seen”.
I was there, and I agree. Theodora is sublime, and works very well as an opera. It attracts some of the most interesting and imaginative directors: Peter Sellars, Katie Mitchell and now Stefan Herheim. I really hope that the ROH will revive Mitchell’s 2022 production next season.
LA Phil’s ongoing Handel Project —
https://www.laphil.com/events/festivals-highlights/88
Last season heard a great “Solomon” and “Rodelinda” with the English Consort and Harry Bickett.
“The only one of his oratorios to have a Christian subject.” The Messiah doesn’t have a Christian subject?
“Messiah” doesn’t count because…
Jesus was Jewish! (rimshot)
Oy vey and Hallelujah!
If it’s a “Christian oratorio” then that makes it a cantata (an oratorio with a Christian subject matter).
Why not call a spade a spade? Has “cantata” become a dirty word?