Handel - Theodora / Christie, Upshaw, Daniels, Glyndebourne Festival Opera [VHS]
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VHS Movie Reviews of Handel - Theodora / Christie, Upshaw, Daniels, Glyndebourne Festival Opera [VHS]
Movie Review: Magnificent and Powerfully Moving
Summary: 5 Stars
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.
Movie Review: Oratorio as Opera Seria: Bold, Brilliant and Beautiful
Summary: 5 Stars
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.
Movie Review: Music of sublime beauty giving in a novel staging
Summary: 4 Stars
Handel's late oratorio is giving a magnificent reading in this modern staging, taped at the 1996 Glyndebourne Festival. Baroque specialist William Christie leads the Orchestra of the Age of Enlightenment and a group of spectacularly talented principals who bring great sensitivity and drama to some of Handel's most achingly-beautiful music. Daniels, Upshaw, Croft and Hunt all sing ravishingly (pay special attention to Croft's wonderful first act aria). The Glyndebourne Chorus is spectacular, and gives wonderful treatment to the great choral sections. Avante-garde director Peter Sellars gives the piece a modern treatment that holds interest, if not providing any revelatory moments. Technical aspects are superb. Highly recommended for the Handel completist, and a great introduction to this beautiful score (considered to be Handel's personal favorite).Movie Review: vocal heaven meets a firmly grounded production
Summary: 5 Stars
Stunning in every respect. Hunt is luminous, earthy, and lives entirely within the world created by the production. Upshaw is clear, focused, and very moving. Croft is spectacular -- emotionally charged, musically affecting, and a great actor. Daniels is in very fine form indeed and sings with control, wonderful coloring, and heartbreaking beauty. The production does what modern dress updates so rarely do -- rather than condescend to the audience with look-at-me tricks, each of its bold gestures serves to illuminate and focus the emotional and musical content of the scene. I've only owned it one day and have already watched it twice! Give over to it and you will be generously rewarded.Movie Review: Handels Theodora
Summary: 5 Stars
THis is a truly lovely and moving performance that defeats all expectations
Theodora was written by Handel as an oratorio so English music lovers could get to hear music on a Sunday when protestant God botherers closed the theatres but it is an opera really.
Peter Sellars' totally non authentic production sets the action (Romans persecuting early Christians) in the near future - Romans as prison guards in an imaginary Guantanamo Bay type police state America, execution by lethal injection and so on. So the usual distracting concept junk? A moralising piece of Christian propaganda? Thought for the Day with some half way decent music? A coded tristesse about AIDS or what?
No - all my expectations were in the can in no time. This is an intensely moving and convincing performance which brings you face to face with the fact that we are all going to die. That one day the world will not have you in it but will somehow carry on anyway.
Upshaw is luminous, beautiful. Daniels does Handel's music proud.
If you've never seen an opera before, or never bothered with Handel's operas before, just see it. It will probably change your life. Your current partner had better like opera. If s/he doesn't - change your partner