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As noted, Theodora is a stickler. In the original story the oratorio is based on, Theodora is tossed into the brothel specifically because she has been ordered to marry and she refuses, preferring to dedicate her life to religion. The marriage part is not in the oratorio. But either way, she is one of those people who stick to principle, consequences be damned. At the same time, she is still a very much a human being. The music itself reveals it, although the story does too if you pay attention.
This is one of those operas where the sex is very much present by the fact that it emphatically does not happen. I have yet to see a version of it where the two main characters fling caution and clothing completely to the winds – that would make no sense – but these two tormented souls get pretty close.
During a beautifully rendered “deeds of kindness,” Didymus (Bejun Mehta) disrobes, item by item, and in Irene’s aria “defend her, heav’n,” that follows right after, the lines about preserving Theodora’s virtue seem to be voiced not by Irene, but by Didymus’s own conscience. In the end, he intends by “sweet rose and lily” to be satisfied with only a smile for his reward – and he gets one almost immediately, but not from Theodora.