Antonio Vivaldi, Alessandro de Marchi, Academia Montris Regalis Vivaldi: Juditha Triumphans (Vivaldi Edition) Genre:Classical Vivaldi may be best remembered for his virtuosic concertos but, as anyone familiar with his famous D major Gloria will know, he also had a real ear for vocal sonorities. His only surviving oratorio, Juditha Triumphans, has... more » until recently been a well-kept secret. The biblical story of Judith overcoming Holofernes and his army (beheading him herself--no shrinking violet she) was popular with both librettists and composers, offering plenty of opportunities for exuberant tub-thumping. And these Vivaldi seizes eagerly, the opening rabble-rousing chorus (here preceded by a sinfonia reconstructed by Vivaldi scholar Michael Talbot) setting the tone in truly martial fashion. However, Juditha also abounds in reflective numbers, something at which Vivaldi excels. Perhaps the most striking examples are the ethereal "turtle dove" aria ("Veni sequere fida"), with our heroine beautifully accompanied by a chalumeau (a precursor of the clarinet), the tranquil "Vivat in pace," and the sublime "Umbrae carae", here lyrically sung by Marina Comparato. The all-female lineup (five solo characters plus, on this particular recording, an all-female chorus) is a strong one. And, vitally, the soloists are well-differentiated, each with immediately recognizable timbres. Magdalena Kozena is fruity in the title role: not the kind of voice you'd necessarily associate with this repertoire, but it does turn a potentially smug heroine into one of real flesh and blood. Maria José Trullu is an opulent Holofernes, while Anke Herrmann's Abra is attractively mellow voiced. Downers? Just one--the recorded sound, which is too echoey. Overall, though, this is a fine performance of a great work and one that deserves a place on the shelves of every lover of Baroque music. --Harriet Smith« less
Vivaldi may be best remembered for his virtuosic concertos but, as anyone familiar with his famous D major Gloria will know, he also had a real ear for vocal sonorities. His only surviving oratorio, Juditha Triumphans, has until recently been a well-kept secret. The biblical story of Judith overcoming Holofernes and his army (beheading him herself--no shrinking violet she) was popular with both librettists and composers, offering plenty of opportunities for exuberant tub-thumping. And these Vivaldi seizes eagerly, the opening rabble-rousing chorus (here preceded by a sinfonia reconstructed by Vivaldi scholar Michael Talbot) setting the tone in truly martial fashion. However, Juditha also abounds in reflective numbers, something at which Vivaldi excels. Perhaps the most striking examples are the ethereal "turtle dove" aria ("Veni sequere fida"), with our heroine beautifully accompanied by a chalumeau (a precursor of the clarinet), the tranquil "Vivat in pace," and the sublime "Umbrae carae", here lyrically sung by Marina Comparato. The all-female lineup (five solo characters plus, on this particular recording, an all-female chorus) is a strong one. And, vitally, the soloists are well-differentiated, each with immediately recognizable timbres. Magdalena Kozena is fruity in the title role: not the kind of voice you'd necessarily associate with this repertoire, but it does turn a potentially smug heroine into one of real flesh and blood. Maria José Trullu is an opulent Holofernes, while Anke Herrmann's Abra is attractively mellow voiced. Downers? Just one--the recorded sound, which is too echoey. Overall, though, this is a fine performance of a great work and one that deserves a place on the shelves of every lover of Baroque music. --Harriet Smith
CD Reviews
The beauty and the beast in Betulia
M. Ferrer | SPAIN | 07/22/2004
(5 out of 5 stars)
"Antonio Vivaldi, not only wrote wonderful concerti but also he wrote several vocal works, as master of the chorus of L'ospedale della Pieta for orphan girls. This oratorio is the only we have of the four he wrote. And it is a pleasure listening it.
Though the theme of Judith, the heroine who saved Betulia from Holofernes has been depicted in several compositions, like Betulia Liberata by Mozart. The vision Vivaldi has of the whole scene is more about the seduction of Holofernes than the religious aspects of the theme. A seduction that appears in all its glory in the aria "veni veni me sequere fide".
Although I was used to the version recorded by the King's Consort with Ann Murray I was impressed by Kozena. She has a great elegance singing and , after listening her carefully I think she is my new favourite. Her voice has personality but never shadows the rol she sings.
It is really a wonderful new recording and I recommend it for those who love classical music, and even to those who do not like Vivaldi."
A master work
Santiago Barcon | Mexico city | 01/20/2002
(5 out of 5 stars)
"We tend to forget tha Vivaldi was also an opera and church music composer. This oratorio, the only survival piece of the four we know he composed, is a revelation.The performance is flawless and Magdalena Koczena shows why she is one of the leading singers in the world, plus one interested in more thna the repetead repertorie. The orchestra in historical instruments adds to the quality.The booklet of information is complete with very interesting description on how decisions were made for this recording.Buy it without hesitation."
Furiae! Furiae! Furiae!
Dennis Figueroa | Orange County, CA | 09/20/2006
(3 out of 5 stars)
"Vivaldi might have composed this oratorio with the celestial and the majestic in mind.
Breaking with tradition, even the sinfonia is grandiose and pompous. Not surprisingly, it is borrowed from the first and second movements of concerto grosso con molti strumenti that portends something big is about to happen.
Noteworthy are performances by Magdalena Kozena, and Marina Comparato.
Juditha Triumphans treasures one of Vivaldi's most beautiful gems and presto arias di furie, Armatae Face Et Anguibus. Taking the task of singing this battle cry, Marina Comparato met and overcame the high standard previously set by Cecilia Bartoli. While Bartoli immersed her character in incontrollable rage and furious vengeance, Comparato turned a spin and sank hers in fear and despair at the death of Holofernes. Her melisma in singing the second vocal run of the aria conveys the vulnerability and anguish of Vagaus, the eunuch, at the death of his beloved master. Both voices and coloraturas are beautiful in conveying different psyches of the same character. What a difference an opera makes for Marina Comparato! Her brilliance was very visible in Il Giustino, but her virtuosity is established here.
Magdalena Kozena simply sparkles in her role of Juditha, and singing of the virtuoso arias "Veni, Veni, Me Sequere Fidu", and "Agitata Infidu Flatu".
Despite a great oratorio, beautiful chorus, superb cast, orchestration, and direction, the audio has bothersome acoustics that pick up the background and diminishes the listening pleasure.
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Wonderful, dramatic music
E. Lyons | Ann Arbor, MI | 12/08/2007
(5 out of 5 stars)
"If you enjoy early opera you will love this. As it stands, it really is just like a Vivaldi opera (for me anyway)--i.e. there is no narrator as in many oratorios, and the arias and choruses all advance the drama. It has absolutely beautiful choruses, and these are a sort of revelation for fans of Vivaldi opera (because his operas don't really have any big complex choruses--if only opera seria conventions had allowed them!! There are a few here in Juditha Triumphans, but the long one that ends Act 1 is especially moving). The other difference from his operas is, of course, that it is in Latin, but the singers still sing very dramatically and act well through the text just as if they were singing Italian. Anyway, the quality of the music is on a par with Orlando Furioso, in my opinion.
By the way, I can't believe how horrible the album covers are for this complete Vivaldi series by the Naive label. They all feature models in very unimaginative examples of fashion photography that have, usually, absolutely nothing to do with the work. I honestly think these covers might put some people off of buying the records because they look like (bad) pop album covers. Ugh! There is a whole world of beautiful, public domain art out there to choose from, including many pieces of religious art that depict the very subject of this oratorio, so what's with the model with the rose in her teeth? Anyway, it is too bad, because the recordings in this series are very high quality.
By the way, I was not bothered by the acoustics on this recording. I found it rich and full and nice and not over-resonant as some say here (including the amazon reviewer). But that aspect of a recording is always so subjective, I find..."
