Handel’s ‘Theodora’: Bucking a Time-Honored Tradition

Overlooking “Theodora,” Handel’s next-to-last dramatic oratorio (an opera in all but name) is a time-honored tradition.

The audience was pitifully small for its London premiere in 1749. More recently, it was ignored by the recording industry during the 1985 Handel tricentennial hoopla.

“Theodora,” which precedes the only slightly better-known “Jephtha,” has, in fact, been continually bypassed, often in favor of far-less imposing Handel oratorios, in the nearly 2 1/2 centuries since it was created.

“Theodora” is glorious, especially its second act, where the eponymous heroine, an early Christian martyr, has the “stage” to herself. Here, Handel’s astonishing gift for characterization shows us a woman of seemingly unshakable faith approaching and then emerging from the deepest abyss of self-doubt. The vocal line, marvelously rich yet subdued, is set against a small orchestra producing a variety of textures and evoking a catalogue of moods that would seem impossible without the forces available to a 19th-Century composer.

Theodora’s emotions are agonizingly detailed in this second-act succession of recitatives, arias and orchestral interludes covering a span of only 10 minutes--10 minutes of the most intense drama and lyric beauty imaginable. And all in the face of a libretto by Thomas Morrell of stupefying flatness when considered on its own.

The role of Theodora in the first complete recording (Harmonia Mundi 907060-62, 3 CDs) is radiantly sung by Lorraine Hunt, whose light, buttery mezzo is employed with infinite skill when the going is fast and tricky or, as is more often the case, when her music is slow, contemplative and self-revealing.

Hunt’s performance is dramatically penetrating to a degree seldom encountered in “old” music and gratifyingly devoid of the affected purity of tone still encountered in antiquarian vocal circles.

At one with Hunt and the guiding spirit of an altogether remarkable interpretive effort is conductor Nicholas McGegan, alert to Handel’s every dramatic nuance, presiding over his superbly skilled Philharmonia Baroque Orchestra and the most vital, verbally pointed recorded work to date from the UC Berkeley Chamber Chorus.

In Act I, McGegan’s ability to spring a phrase suggests the presence of a brilliant choreographer. There is irresistible rhythmic lift in the arias of Didymus, the Roman soldier converted to Christianity by Theodora, with whom he is in love. McGegan and Handel have an ideal protagonist in countertenor Drew Minter, whose agility seems made to order for the ebullience of “The raptur’d soul,” less suited to the dark drama to come, where Minter can seem too bouncily boyish.

David Thomas, that paragon of creating period nasties, is somewhat of a disappointment here. His characterization of Valens, the Roman governor whose chief pleasure is persecuting Christians, projects the requisite pungency. But the voice more often than not sounds tired, uncomfortable with the Handelian fioritura.

An unfamiliar presence, mezzo Jennifer Lane, as Theodora’s confidante Irene--much of whose part is lost in the recent, drastically cut Harnoncourt-led edition on Teldec--offers affecting, technically accomplished work throughout, memorably so in the aria “As rosy steps the morn.”

Discussion of another recent recording, this time of core Baroque repertory, cannot be divorced from extramusical circumstances.

The music is J. S. Bach’s two great cantatas for solo baritone, “Ich habe genug” and “Ich will den Kreuzstab gerne tragen”--both dealing with the believer’s acceptance, even welcoming of death (Harmonia Mundi/Nightingale 907601). They are sung by William Parker, who has AIDS. The 48-year-old singer is employing all means available to heighten public awareness of the ravages of the disease.

Parker’s smooth, soft-grained instrument--he has been known, above all, for his success as an exponent of the French, German and American art song--begs no indulgence here. This is singing informed by stylishness, elegance of sound and textual sensitivity.

The Arcadian Academy, principals of Philharmonia Baroque, comprise the skillful supporting cast under McGegan’s direction. The program is fleshed out with Parker’s singing of three Handel arias drawn from previously issued Harmonia Mundi recordings.

Proceeds from the sale of this disc are earmarked for Shanti Project, which serves people with AIDS and their families in San Francisco.