Critiques de productions passés
3Theodora es una de las últimas obras de Georg F. Händel y narra la historia de una mártir del siglo IV, en tiempos de Diocleciano -gran perseguidor de cristianos-, y Dídimo, el hombre que por amor se convirtió al cristianismo. Sus finales fueron trágicos, los ejecutó el poder de turno a causa de sus convicciones. Y ese desenlace es lo que respetaron tanto Thomas Morell, el libretista de Händel, y Robert Boyle, el autor de la obra que inspiró al compositor.
Mezzo Florencia Machado (Irene) has a full, round and warm voice. A proven technique allows him to perform technically well mastered trills. Iván Maier is finally a Messenger who stands out for the power of his projections and the clarity of his tone.
Musically the production was in the hands of Alejo Pérez, who brought a correct reading of the colourful and melodic score. The cast, like the production, was a local one, apart from the role of the Composer, which was well sung by America mezzo Jennifer Holloway and that of Zerbinetta. Russian soprano Ekaterina Lekhina gave a brilliant account of her famous aria ‘Grossmächtige Prinzessin’ but came across as somewhat brittle in her acting. As the Prima Donna – with her poodle in the Prologue – and Ariadne, Carla Filipcic Holm brought power and beauty of line to the role and Gustavo López Manzitti was up to the demands of the Tenor and Bacchus. Hernán Iturralde was a solid Music Master and likewise Pablo Urban as the Dance Master and the three players – Luciano Garay, Santiago Martinez, Iván Garcia – and three nymphs – Laura Pisani, Florencia Machado, Victoria Gaeta – well played their respective roles.
