Composer: Antonio Vivaldi
Performer: Marianne Beate Kielland, Rachel Redmond, Lucia Martin-Carton, Marina De Liso, Kristin Mulders, La Capella Reial de Catalunya
Orchestra: Le Concert des Nations
Conductor: Jordi Savall
Format: FLAC (tracks)
Label: Alia Vox
Release: 2019
Size: 2.64 GB
Recovery: +3%
Scan: cover
Marianne Beate Kielland, mezzosoprano (Judith)
Rachel Redmond, soprano (Vagaus)
Lucia Martin-Carton, soprano (Abra)
Marina De Liso, contralto (Holopherne)
Kristin Mulders, mezzosoprano (Ozias)
01. Concerto en Ré majeur per la Solennità di San Lorenzo, RV 562: Andante – Allegro
02. Concerto en Ré majeur Op. 3, No. 9, RV 230: II. Larghetto
pars prior
03. Chœur des soldats assyriens “Arma, cædes, vindictæ, fu rores”
04. Récitatif (Holopherne) “Felix en fausta dies”
05. Aria (Holopherne) “Nil arma, nil bella”
06. Récitatif (Vagaus, Holopherne) “Mi Dux, Domine mi”
07. Aria (Vagaus) “Matrona inimica”
08. Récitatif (Holopherne, Vagaus) “Huc accedat Matrona”
09. Aria (Judith) “Quo cum Patriæ”
10. Récitatif (Abra) “Ne timeas non”
11. Aria (Abra) “Vultus tui vago splendori”
12. Récitatif (Abra, Judith) “Vide, humilis prostrata”
13. Aria (Vagaus) & Chœur des soldats assyriens “O quam vaga, venusta”
14. Récitatif (Vagaus) “Quem vides prope”
15. Aria (Vagaus) “Quamvis ferro, et ense gravis”
16. Récitatif (Holopherne, Judith) “Quid cerno! Oculi mei”
17. Aria (Judith) “Quanto magis generosa”
18. Récitatif (Holopherne, Judith) “Magna, o fœmina petis”
19. Aria (Holopherne) “Sede, o cara, dilecta speciosa”
20. Récitatif (Judith, Holopherne) “Tu Judex es”
21. Aria (Judith) “Agitata infido flatu”
22. Récitatif (Holopherne) “In tentorio supernæ”
23. Aria (Vagaus) & Chœur des serviteurs “O servi volate”
24. Récitatif (Vagaus, Abra) “Tu quoque hebraica ancilla”
25. Aria (Judith) “Veni, veni, me sequere fida”
26. Récitatif (Abra) “Venio, Juditha, venio”
27. Aria (Abra) “Fulgeat sol frontis decoræ”
28. Récitatif (Abra) “In Urbe interim pia”
29. Chœur des femmes de Béthulie “Mundi Rector de Cælo”
pars altera
30. Récitatif (Ozias) “Summi Regis in mente”
31. Aria (Ozias) “O Sydera, o stellæ”
32. Récitatif (Ozias, Holopherne) “Jam sævientis in hostem”
33. Aria (Holopherne) “Nox obscura tenebrosa”
34. Récitatif (Holopherne, Judith) “Belligeræe meæ sorti”
35. Aria (Judith) “Transit ætas, volant anni”
36. Récitatif (Holopherne, Judith) “Hæc in crastinum serva”
37. Aria (Holopherne) “Noli, o cara, te adorantis”
38. Récitatif (Judith, Holopherne) “Tibi dona salutis”
39. Chœur des soldats ivres “Plena nectare non mero”
40. Récitatif (Holopherne) “Tormenta mentis tuæ”
41. Aria (Judith) “Vivat in pace”
42. Récitatif (Judith) “Sic in Pace inter hostes”
43. Aria (Vagaus) “Umbræ caræ”
44. Récitatif (Vagaus, Judith, Abra) “Quae fortunata es tu”
45. Aria (Abra) “Non ita reducem”
46. Récitatif (Abra) “Jam pergo, postes claudo”
47. Recitativo accompagnato (Judith) “Summe Astrorum Creator”
48. Aria (Judith) “In somno profundo”
49. Recitativo accompagnato (Judith) “Impii, indigni Tiranni”
50. Récitatif (Judith, Abra) “Abra, Abra accipe munus”
51. Aria (Abra) “Si fulgida per te”
52. Récitatif (Vagaus) “Jam non procul ab axe”
53. Aria (Vagaus) “Armatæ face”
54. Récitatif (Ozias) “Quam insolita luce”
55. Aria (Ozias) “Gaude felix Bethulia lætare”
56. Recitativo accompagnato (Ozias) “Ita decreto æterno”
57. Chœur des Judéens “Salve invicta Juditha formosa”
‘Judith triumphant over the barbarians of Holofernes’ is the only survivor of the four oratorios that Vivaldi is known to have composed. The work was commissioned to celebrate the victory of the Republic of Venice over the Turks during the siege of Corfu. All characters, male and female, are interpreted by women (originally the singers of the Ospedale della Pietà in Venice). Although the rest of the oratorio survives completely intact, the overture has been lost and Jordi Savall has selected two existing concertos as introduction, of which the key, mode and no doubt date of composition coincide most closely with the subject of the oratorio.
The oratorio Juditha triumphans marks the climax of Vivaldi’s vocal production. 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.
Lavishly illustrated booklet containing the full libretto translated in six languages.