Kraemer stylishly leads MOB, stellar cast in Handel’s “Theodora”

For all its renown and inescapable omnipresence every December, Messiah is something of an outlier in George Frideric Handel’s output. Of the composer’s 29 oratorios, nearly all are inspired by stories from the Old Testament, like Solomon, Esther, and Jephtha.

Besides Messiah, only one Handel oratorio has a specifically Christian theme. That is Theodora, which was performed by Music of the Baroque and conducted by Nicholas Kraemer Monday night at the Harris Theater.

The oratorio is based on the true tale of the title Christian martyr who refused to worship the Roman gods. Theodora is condemned to prostitution by Valens, the malevolent Antioch president. Although rescued by her lover Didymus, a Roman soldier who has converted, Theodora still refuses to renounce her faith as does Didymus. The two lovers are sentenced to death and Theodora ends on a somber note as the chorus sings of the spiritual “love divine” that will outlive the couple’s deaths.

Theodora was not a success at its 1750 premiere, performed only three times, in part due to a recent earthquake that caused many to flee London. Handel lamented the weak box office, complaining that “The Jews will not come because it is a Christian story, and the ladies will not come because it is a virtuous one.”

Even now Theodora has its issues, with its virtuous heroine a rather stiff and under-developed character. The hoary dramaturgy of Thomas Morell’s libretto is the main culprit, with fleeting poetic lines lost amid the prevailing archaisms and plank-like dialogue. Musically, there is less operatic brilliance in Theodora than one usually finds in Handel’s vocal works with a preponderance of slow and solemn arias befitting the tragic scenario.

Still, there are considerable musical riches in this work and Theodora remained Handel’s favorite among his oratorios. As with most Handel stage works, it is a true ensemble piece with each of the five principal characters given moments to shine.

Kraemer rarely gets the opportunity to lead such large works. But in Monday night’s Theodora performance—timed to mark his 80th birthday (March 7)—MOB’s affable principal guest conductor showed himself a consummately stylish Handelian. In MOB’s first Theodora in four decades, Kraemer led a vigorous, well-paced performance and with a largely excellent cast, the nearly three hours seemed to fly by.

Sherezade Panthaki proved ideal casting as Theodora. A longtime MOB regular, her soprano has grown in heft and power while losing none of its luster and flexibility. Panthaki easily handled the coloratura demands and brought great poise and sincerity to her singing even in the scenario’s fitfully ludicrous moments. She was at her finest in the concluding duet and her two central arias, namely a moving and expressive “With darkness deep as is my woe.” (Mary Stolper provided equally plangent obbligato solos but having the flutist sauntering around the podium while playing was an unnecessary visual distraction and a misstep in the otherwise efficiently handled traffic management.)

Having Iestyn Davies in the role of Didymus, Theodora’s beloved, was rich casting indeed. The British countertenor sang with bell-like tone, easy projection and natural eloquence, his understated acting and dignified presence lending stature to his character. Davies’ countertenor blended beautifully with Panthaki’s soprano; their concluding duet, “Thither let our hearts aspire” was most sensitively sung and moving in its gentle farewell and acquiescence to death.

Even with the rest of the singers losing an aria each, the singers still managed to make the most of their opportunities.

As Valens, Jonathan Woody made an impressive MOB debut as the villain of the oratorio. Apart from overdoing some of his rolled R’s, the young singer showed his ample bass-baritone to fine effect, singing with strength as well as agility. Woody brought a theatrical swagger to the tyrant, as with his evil relish in “Racks, gibbets, sword and fire” (one of Morell’s more memorable lyrics).

Following his success in the title role of Handel’s Jephtha with MOB in 2022, David Portillo returned as Septimius, the conflicted yet sympathetic friend of Didymus. Portillo’s vibrant tenor and assured Baroque style proved consistently excellent. His jaunty rendition of “From virtue springs each gen’rous deed,” especially, made one regret the loss of two of his arias.

In this stellar vocal company, Allyson McHardy seemed a bit outclassed as Irene, Theodora’s friend and leader of the Christian/Greek Chorus. While she sang capably, her voice couldn’t match the gleam of her colleagues and the Canadian mezzo’s rather bland and literal vocalism lacked the kind of expressive focus and detailing needed to make her solo opportunities come to life.

The chorus has less to do than usual in Theodora, but, under Andrew Megill, the ensemble showed fine versatility, relishing their villainy as lusty Heathens and singing with ethereal refinement as Christians.

The evening was framed by music director Dame Jane Glover detailing MOB’s recently announced 2025-26 season, and admin staff handing out generous individual cake slices to departing patrons to mark Kraemer’s 80th on their way out of the theater.