ELEANOR WOOD
Pinchgut Opera
Handel’s Theodora
City Recital Hall, 1 December
Handel’s Theodora was panned by critics upon its premiere, but is now known to be one of the composer’s most beloved works.
After seeing Pinchgut Opera’s new production, I can see why. The restrained production, thoughtful direction, and some of Handel’s most exhilarating choral passages make it feel like a deeply urgent and relevant story.
In a nutshell, the story is your typical Christian-noblewoman-turned-prostitute tragedy. In the ancient Roman city of Antioch, Governor Valens issues a decree saying that all Christian subjects must perform a sacrifice to honour the Gods. Theodora refuses, and is sentenced to serve as a prostitute in the temple of Venus. Didymus, Theodora’s lover, attempts to rescue her. However Valens learns of their attempts and orders that the lovers be executed.
Under Lindy Hume’s direction, the ancient Roman tale is transported to the corporate boardroom, and the role of Valens is cast as a Trump-like dictator, erratic and volatile in his leadership. However, some clunky blocking meant the figure of Valens, played by baritone Andrew Collis, erred closer towards bumbling fool than fearsome tyrant.
The set is sleek and minimal and the cast navigate the tiered set with ease. Themes of piety, greed and corruption are subtly highlighted in the costumes: corporate suits, with one arm splashed with metallic paint, as though they have been dipped in the Underworld. The chorus is full of nuance and detail; not an amorphous flock but a collection of individuals grappling with the agenda of their tyrannical leader.
One advantage of the City Recital Hall venue is that the orchestra isn’t hidden away; we can fully appreciate its vitality and Erin Helyard’s energised and deeply sensitive conducting.
In the title role, soprano Valda Wilson makes a welcome return home after successful engagements in Germany. Angelic and honey voiced, she cuts a commanding figure on the stage. Counter tenor Christopher Lowrey sings with power and heroism as the lover Didymus, and his Baroque ornamentations are precise. Tenor Ed Lyon is easily sympathetic as the reluctant officer Septimius, forced to carry out his leader’s commands.
At this opening night, I have the familiar feeling of being one of the only members in the audience under 50. Although ticket prices can be on the steep side, I hope this opera gets the wide audience it deserves.
At a time when national opera companies are being taken to task by the National Opera Review for being bloated and inefficient with funding, Pinchgut offers a way forward. With thoughtful direction and glorious music, this production is a lesson in how to do a lot without a lavish budget.
Image supplied. Credit: Robert Catto.
