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4Theodora 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.
The version offered was clearly very satisfactory and its main strengths were the visuals, the solid preparation and the choice of the cast. Marcelo Perusso in his multiple duties as stage director, set designer and costume designer, served with excellence the work of which he is a librettist. The acting movement was coherent and precise. The timeless setting with stone columns and the clever use of the revolving stage served perfectly to frame each of the scenes. The wardrobe is beautiful and the lighting by Rubén Conde is plastically perfect. The choreographic movements of Guillermina Tarsi are adequate. The vocal cast was well-rounded, solid, homogeneous and with perfect diction and preparation. Alejandra Malvino was a Fedra of vocal excellence and expressive intensity. At his side, Daniela Tabernig's Aricia shone, offering the most lyrical moments of the work at the beginning of the second act. He effectively accompanied the tenor Marcelo Puente in the complex role of Hipólito. While sober and effective was Leonardo Estévez as Theseus. Haydée Dabusti overcame the nurse's complicated handwriting with vocal integrity and with careful correction created the minor roles Florencia Machado (Selene), Alicia Alduncín (Hécate) and Gustavo Feulien (Theramens). On the podium the composer himself conducted with sobriety, clarity and precision. The balance between the pit and the stage was perfect and at no time was the voices covered up in a work of abundant percussion and enormous timbral richness. Very good was the response from the Stable Orchestra.
The main ideas of the Chamber Opera are to reach the public in other areas and promote young artists. The key to the cast is their homogeneity, their youth and their scenic availability. In turn, the passage through various fields, not necessarily linked to opera, generates a welcome renewal of the public. For this version he or n of or pear Salieri, Diego Cosin in the stage direction raised a comic aesthetics were taxed, achieving a very good management of theatrical actions, a perfect characterization of the characters and an attractive visual result. Gastón Joubert's scenography with some vague tendency to Ancient Greece was perfect, while Natalio Ríos's projections gave the scenes a changing frame with intelligence and clarity. With the usual quality of Rubén Conde's lighting, while Isabel Guai's wardrobe was ingenious and adapted to the general aesthetic, a separate paragraph deserves the excellently made hairstyles. Martín Sotelo conducted the orchestral ensemble with a sure hand, with good results and adequate stylistic coherence. Of the vocal cast, the homogeneity stood out and if someone had to be highlighted it could be Victoria Gaeta (Dori) for her quality and musical security and her scenic ease. Trinidad Goyeneche (Ofelia) had a poised performance, Walter Schwarz gave authority to the father of the lovers (Aristone), Luciano Miotto was a powerful Trofonio, while Josué Miranda (Artemidoro) and Mariano Fernández Bustinza (Plistene) contributed well-timbred voices and of expressive saying to characterize the two lovers.
