Theodora
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Theodora
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^ Jump up to: a b c Lang, Paul Henry (2011). George Frideric Handel (reprint ed.). Dover Books on Music. ISBN 978-0-486-29227-4 .
^ Jump up to: a b c d Smither, Howard E. (1977). A History of the Oratorio: Vol. 2: the Oratorio in the Baroque Era: Protestant Germany and England . The University of North Carolina Press. ISBN 978-0-8078-1294-5 .
^ Jump up to: a b c d e f Keates, Jonathan (1985). Handel: The Man & His Music . Random House UK. ISBN 978-1-84595-115-3 .
^ "G. F. Handel's Compositions" . The Handel Institute. Archived from the original on 24 September 2013 . Retrieved 28 September 2013 .
^ Karsen, Burton. "Programme notes for "Theodora" " . Barbican . Retrieved 29 April 2014 .
^ "Theodora, 24 May 1996" . Glyndebourne .
^ "How we made: Peter Sellars and William Christie on Theodora" . The Guardian . 27 August 2012.
^ "Theodora DVD (Glyndebourne 1996)" . Glyndebourne Shop . Archived from the original on 8 August 2021.
^ "Theodora" . Royal Opera House . 31 January 2022.
Theodora ( HWV 68) is a dramatic oratorio in three acts by George Frideric Handel , set to an English libretto by Thomas Morell . The oratorio concerns the Christian martyr Theodora and her Christian-converted Roman lover, Didymus . It had its first performance at Covent Garden Theatre on 16 March 1750.
Not popular with audiences in Handel's day, Theodora is now recognised as a masterpiece and is sometimes fully staged as an opera.
Handel wrote Theodora during his last period of composition. He was sixty-four years old when he began working on it in June 1749. He had written the oratorios Solomon and Susanna the previous year. Theodora would be his penultimate oratorio. [1]
Theodora differs from the former two oratorios because it is a tragedy, ending in the death of the heroine and her converted lover. It is also Handel's only dramatic oratorio in English on a Christian subject. [2]
Thomas Morell (1703–1784) had worked with Handel before on several oratorios. He and Handel were good friends; the composer left the librettist 200 pounds in his will. Morell's source for the libretto was The Martyrdom of Theodora and of Didymus (1687) by Robert Boyle , a prominent scientist and theologian. He also borrowed from Corneille 's Théodore, Vierge et Martyre . [2]
Handel finished the oratorio on 31 July 1749, and its premiere was on 16 March 1750. Theodora was a failure with the public and only played three times. There are at least two explanations for this. First, the theme of the persecution and martyrdom of a Christian saint may have been too removed from the Old Testament narratives that Londoners had become accustomed to from Handel's dramatic oratorios. [2] Second, an earthquake that transpired about a week before the premiere had caused some of Handel's usual patrons to flee the city. [1] It was the least performed of all his oratorios, being revived only once in 1755.
Some of Handel's patrons appreciated the work, however. Lord Shaftesbury wrote in a letter to a friend
"I can't conclude a letter and forget "Theodora". I have heard the work three times and will venture to pronounce it as finished, beautiful and labour'd [well worked-out] a composition as ever Handel made. To my knowledge, this took him up a great while in composing. The Town don't like it at all, but ... several excellent musicians think as I do." [3]
One of Handel's most loyal and enthusiastic supporters, Mary Delany , wrote to her sister Ann saying "Don't you remember our snug enjoyment of "Theodora?" Her sister replied "Surely "Theodora" will have justice at last, if it was to be again performed, but the generality of the world have ears and hear not ". [3]
There are two surviving quotes of Handel about Theodora . Morell quotes Handel as saying "The Jews will not come to it because it is a Christian story; and the ladies will not come because it is a virtuous one." Handel's colleague Burney took note when two musicians asked for free tickets for Messiah and Handel responded "Oh your servant, meine Herren! you are damnable dainty! you would not go to Theodora – there was room enough to dance there, when that was perform!" [3]
Theodora was actually Handel's favorite of his oratorios. The composer himself ranked the final chorus of Act II, "He saw the lovely youth," "far beyond" "Hallelujah" in Messiah . [2]
It has sometimes been staged as an opera , as in 1996 Glyndebourne and 2009 Salzburg Festival productions. Both of them were recorded and released as DVD.
The original libretto included an extra scene in which Septimius converted to Christianity himself, but it was never set by Handel, though it was printed. The second scene in Act 2 was also subject to several revisions by Handel.
The 4th century AD. Valens, the Roman governor of Antioch , issues a decree that in honour of Diocletian 's birthday all citizens will offer sacrifice to Venus , the Roman goddess of love, and Flora , a fertility goddess of the spring, on pain of death, and puts Septimius in charge of enforcing this.
Didymus, a soldier secretly converted to Christianity, asks that citizens whose consciences prevent them making sacrifices to idols be spared punishment, which Valens dismisses. Septimius suspects Didymus is a Christian and affirms his own loyalty to the law although he pities those who will be condemned to die by the decree and wishes he could be allowed to extend mercy to them.
Theodora, a nobly-born Christian and her friend Irene are worshipping with their fellow believers in private rather than joining in the festival for the emperor's birthday when a messenger brings news of Valens' decree. Septimius comes to arrest them – Theodora expects to be put to death but is informed that instead she has been sentenced to serve as a prostitute in the temple of Venus. Theodora would much have preferred to die, but is led away to the temple. Irene informs Didymus who goes in the hope of either rescuing her or dying with her. The first Act closes with a chorus of Christians praying for the mission's success.
At the start of the second Act the festival in honour of the emperor and the goddesses is being enjoyed by the pagans. Valens sends Septimius to tell Theodora that if she doesn't join in with the festival by the end of the day, he will send his guards to rape her. The crowd expresses their satisfaction at this sentence. In the temple of Venus which serves as a brothel, Theodora is frightened, but her mood changes as she contemplates the afterlife. Didymus confesses to his friend and superior officer Septimius that he is a Christian and appeals to the other man's sense of decency. Septimius allows Didymus to visit Theodora. At first Theodora appeals to Didymus to kill her and put an end to her suffering, but instead Didymus persuades her to conceal her identity by putting on his helmet and his uniform and escaping, leaving Didymus in her place. Back at their hideout, Irene and the Christians recall the miracle of The Widow of Nain and hope that, should the lovers die, they will find a new life in heaven.
As the third part opens the Christians celebrate Theodora's safe return. However she feels guilty that she endangered Didymus's life in order to save her own. A messenger informs them Didymus has been captured and that Valens has changed Theodora's punishment to death. Theodora goes to offer herself in Didymus' place, despite the protests of her faithful friend Irene. As Valens sentences Didymus to be executed, Theodora enters demanding that she die and Didymus be saved. Both Didymus and Theodora argue that they should die in place of the other. Septimius is moved by this, and pleads for clemency. Valens, however, condemns both Didymus and Theodora to death and they sing a duet to their immortality. [5]
The oratorio is scored for 2 sections of violins, violas, cellos, double basses, 2 flutes, 2 oboes, 2 bassoons, 1 contrabassoon, 2 horns, 2 trumpets, timpani, harpsichord, and organ. A harpsichord and violoncello play the continuo .
Handel's music gives the choruses of Roman pagans, presented in the libretto as evil people gloating over the torture of Christians, "immense verve and charm". [3] This is contrasted with the quiet, deep conviction of the music for the choruses of Christians. [3] The chorus "He saw the lovely youth", Handel's favorite of all the choruses he wrote, depicts Jesus' raising from the dead of the widow's son in Luke , chapter 7. Beginning with slow and solemn chromatic figures in a minor key, the music switches to major as the youth returns to life and ends with joy as the boy is restored to his mother. [3]
The work is notable for many passages of exalted and radiant beauty as well as for skilled characterisation through music. [1] There are three duets, the last being a sublime piece in which Theodora and Didymus die.
Handel uses trumpets, horns, and drums in the Roman scenes. Flutes are introduced in the prison scene, but some arias are very lightly accompanied which raises them far above the text.
(Note: "Symphony" in this context means a purely instrumental piece. "Accompagnato" is a recitative accompanied by the orchestra, rather than by continuo instruments only, as in the passages marked "recitative.")
Scene 3 Theodora, with the Christians
The 1996 production by William Christie with the Orchestra of the Age of Enlightenment and the Glyndebourne Festival Chorus , produced by Peter Sellars , was described as a "landmark". Dawn Upshaw sang Theodora, David Daniels sang Didymus, [6] and the execution of each lead character was set "on a gurney in a Texas military hospital awaiting execution" by lethal injection . [7] A DVD of the production was available from the Glyndebourne online shop. [8]
In 2022, the Royal Opera House in London staged its first production since the 1750 premiere. Directed by Katie Mitchell , the production was set in "an alternative modern-day reality". [9]
Theodora, a Christian of noble birth
Didymus, a Roman Officer, converted by and in love with Theodora
Septimius, another Roman soldier and friend to Didymus
Irene, a Christian and friend of Theodora
Chorus of Christians, Chorus of Heathens [4]
Act Two
Scene 1 Valens, and Chorus of Heathens
29. Recitative (Valens) "Ye men of Antioch"
30. Chorus of Heathens "Queen of summer, queen of love"
31. Air (Valens) "Wide spread his name"
32. Recitative (Valens) "Return, Septimius, to the stubborn maid"
33. Chorus of Heathens "Venus laughing from the skies"
Scene 2 Theodora, in her Place of Confinement
34. Symphony
35. Recitative (Theodora) "O thou bright sun!"
36. Air (Theodora) "With darkness deep"
37. Symphony
38. Recitative (Theodora) "But why art thou disquieted, my soul?"
39. Air (Theodora) "Oh, that I on wings could rise"
Scene 3 Didymus and Septimius
40. Recitative (Didymus,Septimius) "Long have I known thy friendly social soul"
41. Air (Septimius) "Though the honours"
42. Recitative (Didymus, Septimius) "Oh, save her then"
43. Air (Didymus) "Deeds of kindness to display"
Scene 4 Irene, with the Christians
44. Recitative (Irene) "The clouds begin to veil"
45. Air (Irene) "Defend her, Heav'n!"
Scene 5 Theodora's Place of Confinement.
Didymus at a distance, the vizor of his helmet clos'd
46. Recitative (Didymus) "Or lull'd with grief"
47. Air (Didymus approaching her ) "Sweet rose and lily"
48. Recitative (Theodora starting , Didymus) "Oh, save me, Heav'n!"
49. Air (Theodora) "The pilgrim's home"
50. Accompagnato (Didymus,Theodora) "Forbid it, Heav'n!"
51. Duet (Theodora,Didymus) "To thee, thou glorious son of worth"
Scene 6 Irene, with the Christians
52. Recitative (Irene) "Tis night, but night's sweet blessing is denied"
53. Chorus of Christians "He saw the lovely youth"
Heather Harper , Maureen Forrester , Maureen Lehane, Alexander Young, John Lawrenson
Johannes Somary, English Chamber Orchestra , Amor Artis Chorale
Teldec Das Alte Werk Cat: 2564 69056-4
Lorraine Hunt Lieberson , Drew Minter, Jennifer Lane, Jeffrey Thomas, David Thomas
Nicholas McGegan , Philharmonia Baroque Orchestra, U. C. Berkeley Chamber Chorus
Paul McCreesh , Gabrieli Players, Gabrieli Consort
William Christie, Les Arts Florissants , Les Arts Florissants
DVD: Naxos Cat: 705708 Blu-ray: 705804
by Mark Cartwright
published on 03 April 2018
Available in other languages: Spanish , French
With their lavish coronation in the Hagia Sophia , Justinian & Theodora seemed to herald a new era for the Byzantine Empire & its people.
Sponsored by a Greek banker, Julius Argentarius (CC BY-NC-SA)
Besides the darker tales of personal vendettas & cronyism, Theodora was noted for her influence on Justinian's social reforms & her charitable work.
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Mark is a history writer based in Italy. His special interests include pottery, architecture, world mythology and discovering the ideas that all civilizations share in common. He holds an MA in Political Philosophy and is the Publishing Director at WHE.
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Theodora reigned as empress of the Byzantine Empire alongside her husband, Emperor Justinian I , from 527 CE until her death in 548 CE. Rising from a humble background and overcoming the prejudices of her somewhat disreputable early career as an actress, Theodora would marry Justinian (r. 527-565 CE) in 525 CE and they would rule together in a golden period of Byzantine history. Portrayed by contemporary writers as scheming, unprincipled, and immoral, the Empress, nevertheless, was also seen as a valuable support to the Emperor, and her direct involvement in state affairs made her one of the most powerful women ever seen in Byzantium .
Theodora was born in c. 497 CE, the daughter of a bear-keeper called Akakios who worked for the Hippodrome of Constantinople . The 6th-century CE Byzantine historian Procopius of Caesarea states in his Secret History ( Anekdota ) that Theodora earned her living, like her mother before her, as an actress, which meant performing in the Hippodrome as an acrobat, dancer, and stripper. Theodora was said to have had one particularly lurid routine involving geese. By implication, considering the common association of the two professions at the time, she was also a courtesan. Procopius would have us believe an especially popular and lustful one, at that.
Procopius' Secret History , is, though, regarded by many as an outrageous gossip piece with a few facts thrown in for authenticity. The writer's attitude to both Justinian and Theodora is plainly that they were the worst thing ever to happen to the Byzantine Empire (in contrast to the official works he wrote under Justinian's patronage which are suitably laudatory of the emperor's achievements in war and architecture especially). Procopius also had it in for Antonina, the wife of Belisarius (Justinian's most talented general), and she is portrayed as constantly scheming with Theodora to create damaging palace intrigues. It is perhaps important to consider, too, that our knowledge of Theodora only comes from male authors and a woman performing any other role than the traditionally submissive one in Byzantine society was bound to be, at best, disapproved of and, at worst, outright demonised.
Before she married Justinian, the nephew of Emperor Justin (r. 518-527 CE), in 525 CE, Theodora left the sands of the Hippodrome to travel to North Africa as the mistress of a medium-level civil servant. After the relationship broke up, she made her way back home via Alexandria where she may have converted to Christianity .
The marriage between such a lowly figure as Theodora and a future emperor was an odd rags-to-riches one, but there was a tradition in the Byzantine court for emperors to marry the winners of beauty contests organised for that purpose. The entrants to such contests could come from lower classes and from far away provinces so such mismatches were not unheard of. The lowly status of Theodora was not ignored by everyone, and one particularly passionate opponent was Empress Lupicina Euphemia, indeed, her death seems to have removed the foremost obstacle to the marriage. Justin I even went so far as to amend the laws (senators, which Justinian was, could not marry actresses) in order to permit the marriage and to legitimise Theodora's illegitimate daughter. Procopius also claims there was an illegitimate son, too, but no other sources substantiate this.
The Empress, 20 years younger than her husband, is described by Procopius as being short but attractive, a stickler for court ceremony, and a lover of luxury. Theodora was crowned as empress in the same coronation ceremony as her husband on 1 April 527 CE. Justinian had insisted his wife be crowned as his equal and not as his consort. The pair also matched each other in intelligence, ambition, and energy, and with their lavish coronation in the Hagia Sophia, they seemed to herald a new era for the Byzantine Empire and its people.
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Theodora's active role in Byzantine politics and the staunch support she gave her husband are best revealed by the incident of the Nika Revolt of 11-19 January 532 CE. This was an infamous riot caused by factions of the supporters in the Hippodrome of Constantinople . The real causes for complaint were Justinian's tax hikes (to pay for his incessant military campaigns) and his general autocracy, but the riot was sparked by the emperor's refusal to pardon Blue and Green supporters for a recent outburst of violence in the Hippodrome.The troublemakers joined forces for once, and using the ominous chant “Conquer!” ( Nika ), which they usually screamed at the particular charioteer they were supporting in a race, they organised themselves into an effective force.
The trouble began with Justinian's appearance in the Hippodrome on the occasion of the opening races of the games. The crowd turned on their emperor, the races were abandoned and the rioters spilt out of the Hippodrome to rampage through the city . They left an impressive trail of destruction wherever they marched, burning down the Church of Hagia Sophia, the Church of Saint Irene, the baths of Zeuxippus, the Chalke gate, and
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