Here that transit is simulated by the plucking of the mandolin and the pizzicato violins. - Mindaugas Radzevičius) Klavesinas - Paulius Rudokas VDU kamerinis orkestras Vivaldi introduces two chalumeaux to underscore the now subdued Turkish threat. Vivaldi: Juditha Triumphans, RV644. This Giuditta had roles only for Judith, Ozias, Holofernes, and his unnamed captain. ‘I like to be outside my comfort zone,’ she says, which has led her to singing a varied repertoire of titles including Xerxes, Carmen, Pelléas et Mélisande and Norma. ‘Bach has his St Matthew Passion; Handel, his Messiah; and Vivaldi has his Juditha Triumphans.’ The Dutchman wanted to incorporate Caravaggio’s portrayal of Judith beheading Holofernes but didn’t know how to make that happen. Juditha - Sonia Prina, Alt Vaguas - Julia Lezhneva, Sopran Holofernes - Mary Ellen Nesi, Mezzosopran Abra - Raffaella Milanesi, Sopran Naive: OP30314. Lies über Juditha triumphans Oratorio: Recitativa juditha, holofernes "Tibi dona salutis" von Antonio Vivaldis The Masterworks und sieh dir Coverbilder, Songtexte und ähnliche Künstler an. Like Handel’s Roman oratorio‚ La Resurrezione (1708)‚ Vivaldi’s Venetian Juditha was designed to impress its audiences. ‘Judith triumphant over the barbarians of Holofernes’ is the only survivor of the four oratorios that Vivaldi is known to have composed. Juditha Triumphans ; Cast; Hilary Summers; Hilary Summers Ozias. Vivaldi : Juditha Triumphans, RV 644 | Antonio Vivaldi von Jordi Savall – Zum Download und Streaming auf Qobuz.com Das latainische Libretto stammt von Iacopo Cassetti und greift die bekannte biblische Geschichte von Judith und Holofernes auf. This page intentionally left blank Choral Repertoire. Reflections continue with the prayer-like recitative “Summe astrorum Creator” (“Great Creator of the stars”) and Judith’s aria “In somno profundo” (“In deep sleep”). 9, RV 230: II. Juditha triumphans wurde im November 1716 in Venedig komponiert und vom Orchester und Chor des Ospedale della Pietà uraufgeführt. Juditha triumphans devicta Holofernis barbarie (Judith triumphant over the barbarians of Holofernes), RV 644, is an oratorio by Antonio Vivaldi, the only survivor of the four that he is known to have composed.Although the rest of the oratorio survives completely intact, the overture has been lost. Das Werk wurde von der Republik Venedig in Auftrag gegeben, um den Sieg gegen die Türken bei der Belagerung von Korfu im gleichen Jahr zu feiern. Juditha Triumphans’s libretto is in Latin and was written by Iacopo Cassetti. Vagaus summons his Assyrian troops in the aria “O servi volate” (“O servants, be quick”). The head priest Ozias and the head eunuch Vagaus serve their masters in conventional but musically persuasive ways. Juditha Triumphans, an album by Coro Della Radio Svizzera, I Barocchisti, Diego Fasolis on Spotify We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. Movement 2. Schulenburg recruited several tens of thousands of troops. Juditha Triumphansis being recorded live for CD release by ABC Classics, and is being broadcast live on ABC Classic FM on Monday 10 December. A consort of five viols (2 treble viols, 2 violas da gamba, and a violone) are called for one in recitativo accompagnato. The great beauty of its arias and choral parts, the compact dramatic quality of its recitatives and the richness of instrumentation all single it out as one of the most intense and fascinating examples of the genre. Vivaldi heightens attention to the work's most significant moments through the use of a series of changing instrumental obbligati. ... OZIAS Renae Martin began voice studies at the West Australian Conservatorium of Music and completed a Bachelor of Music degree in 1999 at the University of Western Australia. The Venetians concentrated all their naval defenses on the island of Corfù (which they had held since 1396) in 1715 and prepared for a rigorous defense. Écoutez Vidaldi: Juditha Triumphans, RV 644 par Jordi Savall sur Deezer. 1650), Polonia (b. Recitativo - Ozias - Summi Regis In Mente. Juditha Triumphanswas commissioned by and first performed at the Ospedale della Pietà in Venice in November 1716. The great beauty of its arias and choral parts, the compact dramatic quality of its recitatives and the richness of instrumentation all single it out as one of the most intense and fascinating examples of the genre. Few works by Vivaldi exhibit such a close coupling of political motive, text, and music. Though not intended for the theatre, the twists and turns of the plot lend itself perfectly for staged production. 9, RV 230: II. Due to the Coronavirus pandemic, Alexandra was unable to make her debuts singing Ozias (Juditha Triumphans), Marta/Pantalis (Mefistofele), and Emmeline (Artus). Holofernes opens the dialogue with his aria "Nil arma, nil bella" ("No arms, no war"). JUDITHA TRIUMPHANS DEVICTA HOLOFERNES BARBARIE (Die über den barbarischen Holofernes triumphierende Judith) Sacrum Militare Oratorium in zwei Teilen von Giacomo Cassetti nach dem apokryphen Buch Judith - Gesungen in lateinischer Sprache (RV 644) Uraufführung im November 1716 in der Pietà von Venedig. Jacopo Cassetti Venezia, 1716 Modo Antiquo Strumenti Originali / Historical Instruments Barbara Di Castri, Juditha Lucia Sciannimanico, Holofernes Nicki Kennedy, Vagaus Alessandra Rossi, Abra Rowena Anketell, Ozias Coro da Camera Italiano Juditha triumphans devicta Holofernes barbarie, RV 644: Pars I. ‘There are beautiful vocal decorations and then very quiet lamentations, which are so deep that time itself seems to stop.’. 25. Unlike the majority of oratorios, “Juditha Triumphans” does not feature a narrator, instead the drama unfolds through the actions of the characters, and thus has a similar dramatic structure and dynamic to an opera. This edition of Juditha triumphans was first used by Venice Baroque, whose performances may be available here. The CCARH edition of Juditha triumphans, edited by Frances Bennion, Edmund Correia, Jr., and Eleanor Selfrdige-Field, was drafted in 2008. Holofernes dominanted the work, opening it with a vehement denunciation of Jews. The Assyrian soldiers’ chorus “O quam vaga” (“How beautiful…”) signals the initiation of a plan of action. Buy 2 CDs or download online. Unfretted bowed strings: Auf Discogs können Sie sich ansehen, wer an 1968 Vinyl von Juditha Triumphans mitgewirkt hat, Rezensionen und Titellisten lesen und auf dem Marktplatz nach der Veröffentlichung suchen. 3, No. The beautiful young widow Judith goes to the Assyrian army commander Holofernes to beg for mercy and sways him with her charms. Devicta Holofernis Barbarie. Juditha is the only oratorio by Vivaldi that survives, but written evidence documents a long history for the genre in Venice's four orphanage-conservatories (ospedali). She wants to speak to Holofernes personally, and he agrees to the stranger’s request. Courage triumphs in this allegorical oratorio. This seems to have been intentional: Vivaldi wanted to get to action immediately. It emphasizes dissonant intervals that were associated at the time with the Middle East. While in its reliance on core strings (violins, violas, cellos) Juditha triumphans is straightfoward in its instrumental requirements, the obbligati extend to unusual bowed strings (viola d'amore), plucked strings (mandolin, four theorboes), and woodwinds. Catching the military man with his trousers down, she uses all her cunning and charisma to try and save her people. LaBelle could sing ASCII code and still make you weak in the knees. The righteous widow Judith is intent on defending the Faith (i.e., Venice), and her arias define her as forthright and determined. Consort of 4 Viole all’inglese, i.e. The number of ripieno string players varied with circumstances. Vivaldi - Juditha Triumphans - Jordi Savall (2019) La Capella Reial De Catalunya, Le Concert Des Nations, Marina De Liso, Marianne Beate Kielland, Kristin Mulders, Rachel Redmond, Lucía Martín-Cartón - Vivaldi - Juditha Triumphans - Jordi Savall Woodwinds: Juditha triumphans devicta Holofernis barbarie (wörtlich: „Die über die Barbarei des Holofernes triumphierende Judith“, RV 644) ist ein Oratorium von Antonio Vivaldi, das einzig erhaltene von den vier Oratorien, die er komponierte.Das Libretto stammt von Iacopo Cassetti und behandelt das Thema des biblischen Buch Judith. Dinner Buffet. Juditha Triumphans devicta Holofernes barbarie (RV 644) is the only one of Vivaldi's four cantatas to survive. Holofernes observes the darkness and notes that he is surrounded by shadows (“Nox obscura tenebrosa”). Venice prevailed. Chorus. The edition has subsequently been revised and corrected for use by Philharmonia Baroque (2014). The restriction of the accompaniment to theorboes and harpsichords produces a crisp, thin sounds, but the steady rhythm and its rapid tempo simulate hurrying. The woodwinds include paired baroque oboes, recorders, chalumeaux (single-reed instruments from Central Europe that were slightly shrill forerunners of the clarinet), and a shawm (salmoè). Juditha Triumphanswas commissioned by and first performed at the Ospedale della Pietà in Venice in November 1716. La Cetra Barockorchester was founded in 1999 by Peter Reidemeister, then director of the Schola Cantorum Basiliensis. The viols and plucked instruments are similarly likely to have been played by those who normally covered the string orchestra parts. With her village under siege, a daring widow implores the invading general for mercy. Vivaldi: Juditha Triumphans, RV644. Alessandro de Marchi has departed from other recent interpreters by daring to transpose the tenor and bass choral parts up an octave, as is widely believed was done by Vivaldi himself to accommodate the choir of the Ospedale della Pietà. "Juditha triumphans devicta Holofernis barbarie", kurz "Juditha triumphans", ein Oratorium von Antonio Vivaldi. Stream ad-free or purchase CD's and MP3s now on Amazon.co.uk. Juditha triumphans celebrates the three-hundredth anniversary of its first performance at the Pietà with a staged production on January 21 st at 8 pm and January 22 nd at 3 pm at the Longy School of Music, Cambridge. They ranged in age from their mid-teens to their 60s or 70s. Vivaldi’s only surviving oratorio‚ Juditha triumphans (1716)‚ with its strongly characterised roles and luxuriant orchestration‚ is a true Baroque masterpiece. Upon their return to Bethulia, the citizens and the high priest Ozias hail Judith as a heroine. Vagaus sings a lullaby, “Umbrae carae, aurae adoratae” (“Beloved shadows, adored breezes”) in which recorders provide the obbligato, as the sweetness of the moment is savored. After beheading Holofernes, Judith is able to declare Peace (“Vivat in pace, et pax regnet sincera”) in the little-used key of E Major. Holofernes is sure of victory and inspires courage in his soldiers. Abra is a fictional "nurse" who demurely follows the widowed Bethulian queen Judith on her murderous mission. The name La Certa refers to an ancient lute-like instrument, and was the title of a set of twelve violin concertos by Antonio Vivaldi first published in Amsterdam in 1727 and dedicated Charles VI, Holy Roman Emperor. Giacomo Cassetti, the librettist of the Vivaldi work, had at least two other oratorios to his credit. The seriousness of its intention was reinforced through its dedication to Johann Matthias (1661-1747), count of Schulenburg, the marshal of the forces designated to defend Corfù, the Republic's last stronghold of its diminishing maritime empire. French mezzo-soprano Gaëlle Arquez debuts at Dutch National Opera in the role of Juditha. Andrea Marcon has been chief conductor since 2009, and under his direction the orchestra has become one of the leading ensembles in historically informed performance practice. ‘It is like fireworks,’ she says of Vivaldi’s music. It was commissioned to celebrate a victory of Venice over the Turks. The defense of Corfù peaked between July 25 and August 20, 1716. From the album "Vidaldi: Juditha Triumphans, RV 644" by Kristin Mulders on Napster A renewed sense of vigilance, if not militancy, returns as the Bethulians are summoned in Vagaus’s aria “Armatae face et anguibus,” a “rage” piece calling forth images of snakes, “squalid savages”, and violent death. Contrary to popular belief, the Pietà's figlie di coro who performed in this and other works by Vivaldi were not nubile. The Pietà had one chorus, but it could obviously be divided into multiple groups. Schulenburg himself was freed on the third day of January 1717, a Sunday. Ann Murray, Maria Cristina Kiehr, Susan Bickley, Sarah Connolly, Jean Rigby King's Consort, Robert King He specified its genre as a "sacred military oratorio." 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