WOLFGANG AMADEUS MOZART Betulia liberata L’Orfeo Barockorchester Michi Gaigg WOLFGANG AMADEUS MOZART (1756-1791) Betulia liberata, Azione sacra in due parti, KV 118 (74c) (1771)

Libretto: Pietro Metastasio (1698-1782)

CD 1

Parte prima (Part One) [1] Overtura 4:03 [2] Recitativo: Popoli di Betulia (Ozìa) 0:55 [3] Aria #1: D’ogni colpa la colpa maggiore (Ozìa) 6:29 [4] Recitativo: E in che sperar? (Cabri, Amital) 1:50 [5] Aria #2: Ma qual virtù non cede (Cabri) 3:03 [6] Recitativo: Già le memorie antiche (Ozìa, Cabri, Amital) 3:31 [7] Aria #3: Non hai cor (Amital) 4:14 [8] Recitativo: E qual pace sperate (Ozìa, Amital, Coro) 2:45 [9] Aria con il Coro #4: Pietà, se irato sei (Ozìa, Coro) 3:39 [10] Recitativo: Chi è costei che qual sorgente aurora (Cabri, Amital, Ozìa, Giuditta) 3:14

2 3 [11] Aria #5: Del pari infeconda (Giuditta) 4:54 CD 2 [12] Recitativo: Oh saggia, oh santa (Ozìa, Cabri, Giuditta) 2:21 [13] Aria con il Coro #6: Pietà, se irato sei (Ozìa, Coro) 3:43 Parte seconda (Part Two) [14] Recitativo: Signor, Carmi a te viene (Cabri, Amital, Carmi, Ozìa, Achior) 3:16 [1] Recitativo: Troppo mal corrisponde (Achior, Ozìa) 5:43 [15] Aria #7: Terribile d’aspetto (Achior) 3:49 [2] Aria #10: Se Dio veder tu vuoi (Ozìa) 7:16 [16] Recitativo: Ti consola, Achior (Ozìa, Cabri, Achior, Giuditta) 3:13 [3] Recitativo: Confuso io son (Achior, Ozìa, Amital) 1:28 [17] Aria #8: Parto inerme, e non pavento (Giuditta) 5:46 [4] Aria #11: Quel nocchier che in gran procella (Amital) 6:31 [18] Coro #9: Oh prodigio! Oh stupor! (Coro) 2:14 [5] Recitativo: Lungamente non dura (Ozìa, Amital, Coro, Cabri, Giuditta, Achior) 9:32 total time 63:01 [6] Aria #12: Prigionier che fa ritorno (Giuditta) 5:41 [7] Recitativo: Giuditta, Ozìa, popoli, amici (Achior) 1:13 [8] Aria #13: Te solo adoro (Achior) 3:50 [9] Recitativo: Di tua vittoria (Ozìa, Amital) 0:50 [10] Aria #14: Con troppa rea viltà (Amital) 5:59 [11] Recitativo: Quanta cura hai di noi (Cabri, Carmi, Ozìa, Amital) 2:51 [12] Aria #15: Quei moti che senti (Carmi) 2:01 [13] Recitativo: Seguansi, o Carmi (Ozìa, Amital, Cabri, Achior, Giuditta) 0:56 [14] Aria con il Coro #16: Lodi al gran Dio (Giuditta, Coro) 5:59

total time 59:51

4 5 SOLOISTS ORCHESTRA

Giuditta (alto): conductor violoncello bassoon Margot Oitzinger Michi Gaigg Anja Enderle Nikolaus Broda Katie Stephens Makiko Kurabayashi Ozìa (tenor): violin Christian Zenker Julia Huber-Warzecha double bass trumpet (concert master) Maria Vahervuo Franz Landlinger Achior (baritone): Martin Jopp Martin Mühringer Markus Volpert Martin Kalista flute Ilse Kepplinger Katharina Kröpfl horn Amital (soprano): Sabine Reiter Sandra Koppensteiner Péter Keserü Marelize Gerber Petra Samhaber Michael Söllner Simone Trefflinger oboe Thomas Fischer Cabri (soprano): Elisabeth Wiesbauer Carin van Heerden Martin Eitzinger Ulrike Hofbauer Philipp Wagner viola harpsichord Carmi (soprano): Lucas Schurig-Breuß Erich Traxler Barbara Kraus Julia Fiegl Daniela Henzinger

6 7 A stroke of genius addressing a young lad of fifteen. Leopold reveals the identity of this person and the seriousness with which the Mozart family dealt with this Betulia liberata (The liberated Bethulia) seems to be the least known among commissioned oratorio for Padua in another letter after their return to Wolfgang Amadeus Mozart’s larger stage works, be it secular or sacred, Salzburg. The letter is addressed to his friend, Count Giovanni Luca composed during his youth. Written documentation on the subject is also Pallavicini in Bologna: scarce. Among these we find a letter by Leopold Mozart written to his wife in Salzburg during the first concert journey of Italy with his son: Salzburg 19 July 1771 Meanwhile my son is writing an oratorio by Metastasio for Padua that has Vicenza 14 March 1771 been commissioned by Sgr Don Giuseppe Ximenes de Ppi d’Aragona. In Padua we saw as much as can be seen in a day, for here too we were not When I pass through Verona, I`ll send this oratorio to Padua to be copied, left in peace, Wolfg. having to play in 2 different places. But he also got some and on our return from Milan we`ll go to Padua to hear it rehearsed. 2 work and has to write an oratorio for Padua which he can do as and when the opportunity arises. 1 The plan apparently was to leave the finished score in Padua during the imminent second Italian journey where it was to be copied while the Mozarts Taking into account the consequent turn of events the commissioned continued their journey to Milano to deliver the commissioned festa teatrale oratorio for Padua „when the opportunity arises“ was obviously expressed Ascanio in Alba for the marriage celebrations of the Archbishop Ferdinand prematurely. The person involved might have thought nothing of it when Karl of Austria with Maria Beatrice d’Este. On their return to Padua they

1. Eisen, Cliff et al. In Mozart’s Words, Letter 239 . 2. loc. cit. Version 1.0, published by HRI Online, 2011. ISBN 9780955787676.

8 9 hoped to attend the rehearsals for Betulia liberata. This is the last known report and also of a recent political crisis (the afflictions suffered by the Austrian on the events. It is not known if the score ever arrived in Padua, let alone if it was army to animosities by Charles Emmanuel III of Sardinia-Piemont during handed to the Duke of Aragon. It is also not known if the Duke had changed the beginning of the War of the Polish Succession in Northern Italy). his mind in the meantime and had consulted other composers on this matter. Even though the city of Bethulia was fictitious and the Assyrians were at The latter seems apparent since the libretto was printed twice during 1771 the most Babylonians the story nevertheless deals, once again, with the in Padua. The composers in question were the Bohemian Josef Myslive ˇcek people of Israel and their unwavering faith in God who alone can redeem (1737-1781), a highly successful composer of Italian operas and an acquaintance them from a hostile invasion. of the Mozarts since March 1770, and the local composer Giuseppe Calegari Achior, ruler of the Ammonites and ally to the Assyrians, dares to remind (†1808). The young Mozart admired Myslive ˇcek and regarded him as a role Oloferne (Holofernes) that the Bethulians were invincible as long as their faith model. Myslive ˇcek had already composed the oratorio Il Tobia for Padua was steadfast. This enrages Oloferne and he orders Achior to be tied to a in 1769. In this case he nevertheless had to clear the stage for Calegari: the tree near Bethulia. This is where he is found by Carmi, a Bethulian councillor, annals of the Accademia patavina contain a report of a performance of a work and taken hostage. In Bethulia, joined by Ozìa, ruler of Bethulia and Amital, of his taking place. a noble lady, he witnesses Giuditta’s (Judith’s) courage and unwavering faith. Following a divine plan she ventures to the army camp of the enemy. The script is based on a sacred drama, an aziona sacra, by the aged Habsburg court poet, Pietro Metastasio (1698-1782), first set to music by Georg Reutter the Younger (1708-1772) and performed during the Holy Week in 1734. Metastasio’s Dramatizing the unspectacular Betulia liberata is based on the story told in the Old Testament book of Judith: the Assyrians, commanded by Holofernes, tried to besiege the city of Bethulia. Betulia liberata was set to music in Vienna alone at least eight times. For its readers this material no doubt evoked sinister memories of the siege One of its special features is Metastasio’s strict compliance to the of Vienna in 1683 (the final Ottoman threat to the Holy Roman Empire capital) Aristotelean postulation regarding the unit of action, place and time.

10 11 (Metastasio was bestowed the honorary title of „il poeta filosofo“ during incurable disease to describe the sorry state of Bethulia. The figures in the his day). All events occurring outside the city walls, and these include the violin parts strongly support the sorrow and pain. actual decapitation of the Assyrian warlord, are thus related by Metastasio as narrative, in this case as recitative. The people of Bethulia, represented by their councils Cabri and Carmi, How then does a composer like Mozart approach this literary material in express their fear and desperation both individually and as a group (choir). which the epic quality obtains priority to the dramatic events? How does The orchestra plays an active role in dialogue with the singers. Giuditta’s a young boy recently turned fifteen convey the drama of something appearance is quite low-key as she joins the anxious group. Her pastoral rather unspectacular? At this stage in his life Mozart had had a fair amount aria „Del pari infeconda“ is presented as parable. Only during her second of experience composing Italian stage works. His musical language is aria it becomes clear that the first impression of a socially humble woman headstrong, risky and refreshingly youthful. His rich knowledge of musical and the ascetic widow of Manasse doesn’t ring true: she proves herself a rhetorics enhances the vocal parts and mellows the sometimes tricky violin formidable heroine as she departs from her fellow citizens. With a well-placed and wind parts. messa di voce (a dynamic rise and fall of the voice, a means of expression especially celebrated by the castrati of the time) on the opening „Parto“ her Some highlights could serve as example: the Overtura, in Italian ternary form, unwavering faith is expressed. The choir, representing the citizens of Bethulia, darkly depicts the invaded city of Bethulia in the sinister key of d minor, with is astounded to witness such immense courage. Also the imprisoned martial interjections thrown in by the horns. Both Ozìa and Amital enjoy a Achior joins the choir after his apt description of Olofernes’ brutality (in the certain social standing and this is symbolized with virtuoso writing: Ozìa’s characteristic „barbaric“ key of C major) in the aria „Terribile d’aspetto“. concern about the timidity of his subjects is expressed in the aria „D’ogni The beginning of the second part contains two expansive recitativos: colpa la colpa maggiore“ with extravagant coloraturas up to high B. Amital’s Ozìa beseeches Achoir to convert to his one God. It is followed by an aria in the beginning of the second act, „Quel nocchier che in gran porcella“, accompagnato in which Giuditta relates the terrible events leading to is equally virtuosic and metaphorically depicts a storm at sea and an Olofernes’ „righteous“ doom and her return to the city of Bethulia.

12 13 In comparable opera scenes we have one aspect here that distinguishes this using the last choir with its flaring and belligerent fanfares again. Here they scene from the rest: even though the subject matter is unbearably brutal the symbolize the dread of the erstwhile aggressor, now bereft of a leader, and instrumental accompaniment consists of long-held chords. This is a technique the termination of the city’s besiegement. rather associated with sacred music and conveys Giuditta’s disconnection from reality, a state in limbo. (Silke Leopold) Christian Moritz-Bauer Translated by Carin van Heerden Syncopations in the orchestral accompaniment of the following aria, „Prigonier che fa ritorno“, still express Giuditta’s inner turmoil in the aftermath of her heroic deed although the text already describes the deluded Achior. This is followed by moving reactions of those present: Achior confesses his faith in one God („Te solo adoro“) and Amital, accompanied by beautiful simple figures in the violins, begs forgiveness for her initial doubt of this heroic deed. After the enemy’s defeat the citizens of Bethulia join Giuditta in the solemn choir „Lodi al gran Dio“, set as tonus peregrinus and based on Psalm 113 which describes the liberation of the chosen people of Israel from Egypt. This version of a four part cantus firmus, supported by the oboes, was used by Mozart later again for his Requiem and is a quote from his Salzburg colleague Johann Michael Haydn. When Mozart wrote to his sister on July 21, 1784, requiring his father to send him the „old Oratorio betulia liberata“ for further use he probably considered

14 15 Margot Oitzinger in Austria, Germany, Italy, Switzerland, Great Britain, the Netherlands, Margot Oitzinger (Giuditta) was born in Graz and studied singing at the Belgium, France and Bulgaria. University of Music and Performing Arts in her hometown. She also attended www.oitzinger.com several masterclasses with Emma Kirkby and Peter Kooij. She was awarded prizes at the International Johann-Sebastian-Bach-Competition Leipzig Christian Zenker 2008 and at the International Baroque-singing competition in Chimay Tenor Christian Zenker (Ozìa) was born in Ansbach and was a member of the (Belgium) 2006. famous Windsbach Boys’ Choir. Even before he completed his vocal studies at the Munich Hochschule für Musik und Theater Brigitte Fassbaender took As a soloist she worked with ensembles such as Collegium Vocale Gent, him on at the Tiroler Landestheater, where he was awarded a scholarship. Bach Collegium Japan, the Concerto Copenhagen, L‘Orfeo Barockorchester, In 2006 he changed to the Landestheater in Linz and since 2009 he is a the Wiener Akademie, the Bach Consort, Le Concert Lorrain, the Dunedin full-time freelance singer. Consort, sette voci and many more. He has made guest appearances in major opera houses and at many music Her concert repertoire includes the alto roles in numerous Baroque oratorios, festivals in Europe and farther afield such as the Opernfestspiele Schloss cantatas and operas but also contemporary music. Rheinsberg, Seefestspiele Mörbisch, Händel-Festspiele Halle, Dresdner Musikfestspiele, Europäische Festwochen Passau, donauFESTWOCHEN im Her concert and opera engagements include appearances at international strudengau, Oper Bonn, Oper Graz, Theater an der Wien and Bartòk-Festival festivals such as the Festival Crete Senesi under Philippe Herreweghe, in Szombathely (Hungary). Bachfest Leipzig, Festival voor oude Muziek Utrecht, Musikfestival Bremen, Schützfest Dresden, Bachfest Salzburg, the Händel-Festspiele Halle, In addition to his stage work he is also in demand as lied interpreter and le festival de musique de la Chaise Dieu and the Styriarte. She has performed concert singer. He has worked with conductors such as Fabio Luisi, Dennis

16 17 Russell Davies, Michi Gaigg, Philippe Herreweghe, Christoph Hammer, Barcelona. He has performed repeatedly at renowned festivals in Michael Schneider, Gothart Stier and Roderich Kreile. His repertoire includes Central Europe and he acquired a lot of concert experience in working with Renaissance and Baroque music, lyrical roles by Mozart, Haydn and Rossini well-known conductors and ensembles with period instruments: and contemporary music. Marcus Bosch, Michel Corboz, René Jacobs, James Judd, Sigiswald Kuijken, Rudolf Lutz, Hans-Christoph Rademann, Martin Turnovsky and Ralf Weikert, Christian Zenker was awarded a sponsorship by the Theaterfreunde des Akademie für Alte Musik Berlin, Capriccio Basel, Concerto Köln, L’Orfeo Tiroler Landestheaters. Barockorchester, La Cetra and the Freiburger Barockorchester, as well as www.christian-zenker.de numerous European orchestras.

His activities are supplemented as lied interpreter and opera singer. Markus Volpert His wide repertoire has been documented by numerous CD/DVD Bariton Markus Volpert (Achior) studied with Wolfgang Gamerith in Graz productions. He has lately appeared in the title role in productions of and completed his solo diploma cum laude with Kurt Widmer in Basel. Telemann’s operas Orpheus as well as Miriways conducted by Michi Gaigg Masterclasses with Sena Jurinac, Christa Ludwig, Elisabeth Schwarzkopf with the L’Orfeo Barockorchester. and Thomas Quasthoff, lessons with Horst Günter and as a member of the Zurich Opera studio added to his vocal expertise. Marelize Gerber Markus Volpert has been awarded various prizes: the International The austrian coloratura soprano Marelize Gerber (Amital) was born in Johann-Sebastian-Bach-Competition Leipzig, the Deutscher Cape Town, South Africa. She studied singing with Mimi Coertse and Musikwettbewerb Berlin, the Anneliese Rothenberger-Wettbewerb, Ruthilde Boesch in Vienna and concluded her Musicology Studies with the Grazer Schubert-Wettbewerb and the Francisco-Viñas-Wettbewerb a Masters Degree in Music. Master courses in Early Music with Mieke van

18 19 der Sluis, Jesper Christensen (Schola Cantorum Basiliensis), Peter van Agrippina & Clori, Tirsi e Fileno (Handel), Dafne (Caldara), Apollon & Daphne Heyghen and Sigrid T’Hooft. (Cavalli), Nebucadnezar (Keiser), La Lotta D’Hercole con Acheloo (Steffani) and Fairy Queen (Purcell). Marelize Gerber is continuously expanding her concert Within the framework of her extensive concert activity as a soloist, she and oratorio repertoire to include a variety of works. traveled the USA, Europe, China, Syria, Turkey and Mexico. She performed www.marelizegerber.com at the Wiener Musikverein, Wiener Konzerthaus, Vienna Chamber Opera, Grafenegg Music Festival, trigonale - Festival for Early Music, the Festival Ulrike Hofbauer Barocco di Viterbo, the Internationale Bachtage, BACH XXI GRAZ, St. Pölten Ulrike Hofbauer (Cabri) was born in Bavaria and studied singing and Baroque Festival, donauFESTWOCHEN im strudengau, Festival Revueltas voice teaching at the Universities of Wurzburg and Salzburg, and at the and Wiener Operettensommer. Schola Cantorum Basiliensis in Basle. The teachers who influenced her most profoundly were Sabine Schutz, Evelyn Tubb and Anthony Rooley. Musical partners such as the L’Orfeo-, La Tempesta-, JJ Fux- and Karlsruher Ulrike Hofbauer now lives near Basle and has performed as a soloist with Baroque Orchestras, as well as the Clemencic Consort, Haydn Philharmonie, Singer Pur, Collegium Vocale Gent, L’Arpeggiata, La Chapelle Rhénane, Capella Leopoldina, Academia Salieri, Musica Figuralis, In Flagranti, Prager L’Orfeo Barockorchester and Cantus Cölln amongst others and been Bachorchester, Ensemble Saitsiing & -Tientos, Capella Lutherana, Concertino directed by Andrew Parrott, Philippe Herreweghe, Christina Pluhar, Amarilli, Musiche Varie and Musica Aeterna set the tone of her various Andrea Marcon, Gustav Leonhardt, Manfred Cordes, Hans-Christoph musical activities. Rademann and Jörg-Andreas Bötticher.

However, opera remains her main focus and includes roles from the Ulrike Hofbauer can also live out her love of acting on the opera stage Renaissance to the 21st century with specialization in early music. and has performed at the theatres of Basle and Bern amongst others. She sang the world stage première of Rameau’s Zéphyre as well as in Roles include Calisto in Cavallieri’s Calisto, Galathea in Handel’s Acis

20 21 and Galathea, Eurydice in Telemann’s Orpheus and all the feminine roles the „Tassilo“- sponsorship of the Süddeutsche Zeitung. Since 2003 she in Purcell’s Dido and Aeneas. has repeatedly performed in productions of the L‘Orfeo Barockorchester, conducted by Michi Gaigg, at the donauFESTWOCHEN im strudengau: Currently she is devoting much of her energy to her own baroque ensemble the title role in Mozart’s Zaide, Julie in Romeo und Julie by Georg Anton sav¯adi, with whom she won the Early Music Competition in York in 2003 and Benda and Georg Friedrich Händel’s Almira. She joined the ensemble of the also the Van Wassenaer Concours in The Hague in 2004 (www.savadi.net). Junge Kammeroper Köln during 2008 and 2009 and in 2009 sang the role of She directs larger-scale projects with her newly founded ensemble &cetera Silvia in Haydn’s Die wüste Insel at the Theater an der Wien. Lied recitals and (www.ensemble-etcetera.com). Until recently she taught Baroque singing at concerts in Austria, Germany and Switzerland complete her musical activities. the University Mozarteum Innsbruck.

She enjoys exploring new and unusual repertoires covering different epochs L’Orfeo Barockorchester and styles, but she especially enjoys the early 17th century ‘recitar cantando’ Since its foundation in 1996 at the Anton Bruckner Private University, Linz, the style. Ulrike Hofbauer is particularly interested in heightening the emotional L’Orfeo Barockorchester has developed into one of the leading ensembles for impact of the text and use with the use of gesture, musical rhetoric and historical performance practice today. The synthesis of standard repertoire ornamentation. and pioneering work is a trademark of L’Orfeo’s concert programmes and CD’s. www.ulrikehofbauer.com In addition L’Orfeo has also proved itself an outstanding orchestra for stage works (CD releases: Orpheus oder Die wunderbare Beständigkeit der Liebe by Barbara Kraus Georg Philipp Telemann; Joseph Haydn’s Die wüste Insel/The desert Island). Barbara Kraus (Carmi) comes from Bavaria and studied singing at the Salzburg Mozarteum with Marianne Schartner and Wolfgang Holzmair. The orchestra leaves a mark time and again with its discography ranging from She subsequently was trained by Hanna Ludwig. Barbara Kraus was awarded French Baroque suites through Sturm und Drang sinfonias to Classical and

22 23 Early Romantic repertoire. Among its many releases are several premiére Brüggen, Alan Curtis, Christopher Hogwood, René Jacobs, Ton Koopman recordings. Various prizes have been awarded e.g. by Diapason, Pizzicato and Hermann Max. Together with Carin van Heerden she founded the (“Supersonic Award”), Le Monde de la Musique, Fono Forum, Radio L’Orfeo Barockorchester in 1996. Österreich 1 (“Pasticcio Prize”), as well as the coveted German music award ECHO Klassik. Opera productions are becoming increasingly important in Michi Gaigg’s work. Recently staged works are: Handel’s first operaAlmira , Queen A high artistic level, colourful playing and an immense sensitivity for sound of Castille, Georg Philipp Telemann’s Orpheus oder Die wunderbare are aspects confirmed by critics and audiences time and again. Team spirit Beständigkeit der Liebe, Orpheus und Eurydike by Chr. W. Gluck, Zaide by and a close identification with founder and leader Michi Gaigg form the basis W. A. Mozart, Romeo und Julie by Georg Anton Benda, Joseph Haydn’s for its artistic success. Die wüste Insel and a trilogy of early operas by Gioachino Rossini (Il signor www.lorfeo.com Bruschino, La scala di seta und La cambiale di matrimonio).

Michi Gaigg Michi Gaigg has been teaching at the Institute for Early Music at the Anton The Austrian conductor and leader of the orchestra, Michi Gaigg, was Bruckner Private University in Linz since 1993. She is director of the Danube deeply inspired as a student by the lectures given by Nikolaus Harnoncourt Festival in Strudengau and received two cultural awards by the province of at the Salzburg Mozarteum. After completing her violin studies there she Upper Austria. commenced learning to play the Baroque violin and studied with Ingrid Seifert and Sigiswald Kuijken.

Michi Gaigg accumulated valuable experience in internationally well-known ensembles such as London Baroque and with conductors such as Frans

24 25 26 27 Ein Geniestreich aus der Schublade wie ernst es den Mozarts nach ihrer Rückkehr nach Salzburg mit dem Oratorium für Padua geworden war, berichtet ein weiterer Brief Leopolds, Unter den groß angelegten Vokalwerken aus Wolfgang Amadeus Mozarts den er am 19. Juli 1771 an den befreundeten Grafen Giovanni Luca Pallavicini Jugendjahren – ob sie nun der weltlichen oder der geistlichen Bühne in Bologna schrieb: zugehörig sind – handelt es sich bei Betulia liberata (Das befreite Bethulien) um das am wenigsten bekannte. Was wir an schriftlichen Dokumenten aus Fratanto sta componendo il mio figlio un Oratorio di Metastasio per Padua dem Briefwechsel der Familie Mozart besitzen, ist auch nicht gerade viel: ordinato del Sgr: Don Giuseppe Ximenes de P[rinci]pi d’Aragona, quest’ Von der ersten und gleichzeitig erfolgreichsten mit dem Sohn unternomme- oratorio mandero, passando per Verona, à Padua per essere copiato, e nen Italienreise, schreibt Leopold in einem auf „Vicenza den 14. Merz 1771“ ritornando da Milano anderemo à Padua per sentirne la Prova. datierten Brief an seine Frau in Salzburg: Anscheinend waren die Pläne bereits so weit gediehen, dass die mittlerweile Wir besahen in Padua was in einem tage zu sehen möglich war, da wir auch vollendete Partitur auf der in Kürze beginnenden, zweiten Italienreise (mit hier keine Ruhe hatten, und Wolfg. an 2 Orthen spielen muste. Er bekamm den Mozarts von Verona kommend) zunächst in Padua zur Abschrift gelassen aber auch eine Arbeit, indem er ein Oratorium nach Padua Componieren muß, werden sollte. Nach Beendigung des folgenden Mailänder Aufenthalts (für und solches nach gelegenheit machen kann. den anlässlich der Hochzeit des Erzherzogs Ferdinand Karl von Österreich mit Maria Beatrice d’Este die Festa teatrale Ascanio in Alba bestellt worden war), Angesichts dessen, was später damit geschehen sollte, war der Auftrag gedachte man den Proben in Padua beizuwohnen. „nach gelegenheit“ ein Oratorium für Padua zu schreiben wohl doch ein wenig vorschnell ausgesprochen. Mit einem Komponisten von erst 15 Von nun an fehlt uns jeglicher Bericht über das Voranschreiten des Projektes Jahren kann man so etwas schon machen, wird sich derjenige, von dem Betulia liberata. So wissen wir weder, ob Wolfgangs Partitur jemals nach er stammte, wohl gedacht haben. Um wen es sich dabei handelte und Padua, geschweige denn in die Hände des Fürsten von Aragona gelangte,

28 29 noch ob selbiger nicht längst mit weiteren Komponisten im Gespräch Wiens im Jahre 1683 hervorgerufen, sondern auch an eine unmittelbar gewesen war. In Anbetracht zweier in Padua 1771 gedruckter Libretti erhärtet zurückliegende außenpolitische Krise erinnert haben. So wie einst die sich gar der Verdacht, dass mit dem Auftrag zur Vertonung der Betulia Osmanen die Hauptstadt des heiligen römischen Reiches bzw. Karl liberata offenbar wirklich noch andere bedacht worden waren: der mit den Emanuel III., König von Sardinien-Piemont, zu Beginn des polnischen Mozarts seit ihrer ersten Begegnung im März des Vorjahres befreundete Erbfolgekrieges das österreichische Heer im Norden Italiens in ärgste und im Bereich der italienischen Oper ungemein erfolgreiche Böhme Josef Bedrängnis gebracht hatten, waren es im alttestamentarischen Buch Judit M y s l i v e ˇc e k (1737-1781) sowie der ortsansässige Giuseppe Calegari (†1808). die Assyrer unter ihrem Feldherrn Holofernes, die die Stadt Bethulia samt Obwohl M y s l i v e ˇc e k , der als Komponist eine große Vorbildfunktion auf ihrer Bewohner in die Knie zu zwingen versuchten. Wenngleich es nie Mozart ausübte, bereits 1769 ein Oratorium für Padua, Il Tobia, verfasst hatte, eine Stadt namens Bethulia gab und die Assyrer in Wirklichkeit bestenfalls scheint letztendlich der vergleichsweise unbekannte Calegari das Rennen Babylonier waren, geht es hier doch, wie so oft in der bewegten Geschichte um die Paduaner Betulia liberata gemacht zu haben, denn allein in seinem des Volkes Israel um die Festigkeit ihres Glaubens an Gott, der allein sie vor Fall berichten die Annalen der Accademia patavina von einer tatsächlich der feindlichen Übernahme zu retten vermag. stattgefundenen Aufführung. Achior, ein Ammoniterfürst und Verbündeter der Assyrer, wagt gegenüber Bei dem Textbuch, welches der einer spanischen Familie entstammende, Oloferne (Holofernes) seiner Überzeugung Ausdruck zu verleihen, dass die seit 1762 in Padua residierende Giuseppe Ximines für seine (halböffentlich Bethulier unbesiegbar wären, solange sie ihrem Gott vertrauten, wodurch veranstalteten) Akademien erwählt hatte, handelte es sich um ein geistliches jener außer sich gerät und Achior in die Hände der Israeliten spielt. Dort wird Drama, eine Aziona sacra des (mittlerweile hochbetagten) habsburgischen er zusammen mit Ozìa, Fürst von Bethulien, Amital, einer Dame von ebenso Hofdichters Pietro Metastasio (1698-1782). Erstmals von Georg Reutter edlem Blute und anderen hochgestellten Persönlichkeiten der Stadt Zeuge dem Jüngeren (1708-1772) in Töne gesetzt, dürfte es seinerzeit, während von dem Mut und unerschütterlichen Glauben Giudittas (Judiths), die einem der Karwoche 1734 nicht nur manch düstere Erinnerung an die Belagerung göttlichen Plan folgend, sich in Richtung des feindlichen Heerlagers begibt.

30 31 Von der Dramatik des Undramatischen Overtura den Belagerungszustand der Stadt Betulia. Eine Besonderheit der Betulia liberata – von der einst allein in Wien acht Mittels einer sich in ausschweifenden Koloraturen bis zum h’ empor verschiedene Vertonungen erklungen waren bzw. erklingen hätten sollen – schraubenden Arie („D’ogni colpa la colpa maggiore“) bemängelt Ozìa die stellt die konsequente Befolgung der aristotelischen Forderung nach Einheit Furchtsamkeit seiner Untertanen. Zusammen mit Amitals „Quel nocchier von Zeit, Raum und Handlung dar. So lässt hier Metastasio, der für seine che in gran porcella“ vom Beginn des zweiten Teils – die mittels Bildern von Dichtung mit dem Ehrentitel „Il poeta filosofo“ ausgezeichnet wurde, alle Seestürmen und unheilbarer Krankheit die Stadt für verloren erklärt, verleiht außerhalb der Stadtmauern stattfindenden Ereignisse nur in erzählter, d. h. beider Gesang nicht zuletzt auch ihrer gesellschaftlich erhöhten Position rezitativischer Form wiedergeben – so natürlich auch die Ermordung des mittels besonders virtuos gesetzter Koloraturen Ausdruck. Gleichwohl legen assyrischen Kriegsherren. sich die Violinen mächtig ins Zeug um dem musikalischen Geschehen durch Was macht nun ein Mozart aus jener literarischen Vorlage, die an den Leid und Schmerz symbolisierende Figuren zusätzliche Tiefe zu verleihen. vermeintlich entscheidenden Momenten dem Epischen die Vorherrschaft Während die Bewohner Bethuliens vereint im Chor oder vertreten durch über das Dramatische erteilt? Wie setzt der gerade einmal Fünfzehnjährige ihre Räte Cabri und Carmi den kollektiven Gefühlen von Angst und die Dramatik des Undramatischen in Töne? Verzweiflung individuellen Ausdruck verleihen und dabei variierende Der an italienischer Theatermusik bereits mehrfach Erprobte spricht eine Unterstützung aus den Reihen des Orchesters erfahren, hält Giuditta auf eigenwillige, im besten Sinne jugendliche Sprache, scheut kein Risiko, greift geradezu unspektakuläre Weise mit einer pastoralen Gleichnisarie („Del pari mit vollen Händen in die Schatztruhe musikalischer Rhetorik, mittels derer infeconda“) Einzug in den Kreis der Kleinmütigen. Dass sie entgegen ihrer er nicht nur die Gesangspartien, sondern auch die spieltechnisch mitunter vergleichsweise schwachen gesellschaftlichen Position und ihrem beinahe undankbar schwierigen Stimmen der Holzbläser und Violinen bereichert. asketischen Erscheinungsbild, die alles und alle überragende Heldin darstellt, Einige Höhepunkte im Detail: Im düsteren d-Moll und durch die martialischen wird spätestens in ihrer zweiten Arie offenbar, mittels der sie Abschied Einwürfe der Hörner zusätzlich verdunkelt, malt der Komponist in der von den Ihrigen nimmt. Ein messa di voce (italienisch für „Stimme setzen“) dreiteiligen, dem Schema der italienischen Opernsinfonie folgenden auf „Parto“, in der Barockoper zumeist mit der Gesangskunst der Castrati

32 33 assoziiertes dynamisches Ausdrucksmittel, eröffnet den Gesang der unbeirrt Davon, dass das Geschehen im feindlichen Heereslager dem Seelenleben auf Gott vertrauenden Frau. der jungen Heldin trotz allen Gottvertrauens äußerst zugesetzt hat, gibt die Entsprechend groß ist auch die Verwunderung des Chores gegenüber der anschließende Arie („Prigonier che fa ritorno“) mittels innere Zerrissenheit sich der öffentlichen Sorge annehmenden Witwe des Manasse, unter die anzeigender Synkopen in der Orchesterbegleitung zu erkennen – wenngleich sich auch die Stimme des Gefangenen Achior mischt, der kurz zuvor in sich deren Text vordergründig auf den in seinem Irrglauben gefangenen „barbarischem“ C-Dur noch von der Grausamkeit des Oloferne berichtete Achior bezieht. Die Reaktionen der Anwesenden sind jedenfalls bewegend: („Terribile d’aspetto“). Während sich der Ammoniter zum Glauben an den einen Gott („Te solo adoro“) bekennt, bittet Amital zu wunderbar schlichten Adagio-Violinfiguren, Der Beginn des zweiten Teils wird von zwei ausladenden Rezitativen wie sie nur ein Mozart hatte setzen können, um Vergebung der zuvor eingenommen: die Darstellung einer Unterredung mittels derer Ozìa den gehegten Zweifel an der großen Rettungstat. Ammoniterfürsten für seinen monotheistischen Glauben zu gewinnen Der Feind ist besiegt und die Bewohner der Stadt stimmen im Wechsel versucht, sowie ein Accompagnato, welches die Rückkehr und Erzählung der mit Giuditta im tonus peregrinus, der nach Psalm 113 die Befreiung des Giuditta von ihrer „gerechten“ Bluttat an Oloferne zum Inhalt hat: auserwählten Volkes Israel aus Ägypten behandelt, in den eindrucksvoll feierlichen Chor „Lodi al gran Dio“ ein. Die vierstimmige Bearbeitung Von den vergleichbaren Szenen in einer Oper unterscheidet sich dieses jenes (hier von den Oboen verstärkten) Cantus firmus, den Mozart dereinst – der Ungeheuerlichkeit des Berichteten zum Trotz – durch eine […] eher im Requiem wiederverwenden sollte, übernahm er übrigens aus einer der geistlichen Sphäre zugeordneten Instrumentalbegleitung, die lang Komposition seines Salzburger Kollegen Johann Michael Haydn. ausgehaltenen Streicherakkorde vollziehen nicht den Hergang nach, sondern Als Mozart am 21. Juli 1784 seine Schwester bat, der Vater möge ihm doch geben Auskunft über Giudittas gleichsam entrückte Gestimmtheit. „das alte Oratorium betulia liberata“ schicken, weil er „für die hiesige [Wiener (Silke Leopold) Tonkünstler-] Societät […] doch Ja und da etwas davon Stückweise brauchen“ könnte, hatte er sicherlich auch an den Schlussgesang mit seinen nochmals

34 35 aufblitzenden, kriegerischen Fanfaren gedacht, die diesmal allerdings für Margot Oitzinger die vor Schreck erstarrten, führerlos gewordenen Angreifer stehen und den Margot Oitzinger (Giuditta) wurde in Graz geboren und studierte Sologesang Abbruch der Belagerung Bethuliens darstellen dürften. an der Universität für Musik und darstellende Kunst Graz. Sie absolvierte Meisterkurse bei Emma Kirkby und Peter Kooij. Sie ist Preisträgerin des Christian Moritz-Bauer Internationalen Johann-Sebastian-Bach-Wettbewerbes Leipzig 2008 und des Internationalen Barockgesangswettbewerbs in Chimay (Belgien) 2006.

Ihr Repertoire reicht unter anderem von den Werken Bachs und Händels mit Schwerpunkt auf Oratorium über Mozart und Haydn bis zur Romantik und Moderne. Sie war bislang mit Orchestern und Ensembles wie Collegium Vocale Gent, Bach Collegium Japan, Cantus Cölln, Concerto Copenhagen, dem L’Orfeo Barockorchester, Sette voci, dem Dunedin Consort and Players oder Le Concert Lorrain zu hören.

Neben zahlreichen Chanson- und Liederabenden, Festival Crete Senesi unter Philippe Herreweghe (Brahms), war sie auch vor allem in Barockopernpartien in der Kammeroper Graz, Kammeroper Wien, bei den donauFESTWOCHEN im strudengau und der Styriarte zu sehen.

Margot Oitzinger tritt unter anderem bei Festivals wie den Händel- Festspielen in Halle, Bachfest Leipzig, Festival voor oude muziek in Utrecht,

36 37 Festival de Saintes, Knechtsteden, Innsbrucker Festwochen der Alten Musik, donauFESTWOCHEN im strudengau, an der Oper Bonn, der Oper Graz, dem le festival de musique de La Chaise Dieu oder dem Bachfest Salzburg auf. Theater an der Wien und dem Bartok-Festival in Szombathely (Ungarn). Ihre Konzert-, Liederabend- und Opernauftritte fanden bis dato in ganz Österreich statt, sowie auch in Italien, Deutschland, Niederlande, Belgien, Sein Repertoire reicht von der Musik der Renaissance und des Barock über Schweiz, England und Frankreich. die großen lyrischen Partien von Mozart, Haydn und Rossini (die historisch www.oitzinger.com fundierte Aufführungspraxis ist ihm hierbei ein besonderes Anliegen) bis hin zu Uraufführungen zeitgenössischer Kompositionen. Christian Zenker Der Tenor Christian Zenker (Ozìa) wurde in Ansbach geboren. Erste Neben seiner Tätigkeit als Opernsänger ist Christian Zenker auch musikalische Erfahrungen sammelte er als Mitglied des renommierten ein international gefragter Konzert- und Liedsänger. Er arbeitete mit Windsbacher Knabenchores. Das Studium an der Hochschule für Musik und DirigentInnen wie Fabio Luisi, Dennis Russell Davies, Michi Gaigg, Philippe Theater München schloss er mit Auszeichnung ab. Herreweghe, Christoph Hammer, Michael Schneider, Gothart Stier, Roderich Kreile (Dresdner Kreuzchor) und mit Orchestern wie den Münchner Noch vor Beendigung seines Studiums engagierte ihn Brigitte Fassbaender Philharmonikern, der Dresdner Philharmonie, den Dresdner Kapellsolisten der an das Tiroler Landestheater, dessen Ensemble er von 2002-2006 angehörte. Sächsischen Staatskapelle Dresden, der Staatskapelle Halle, dem Beethoven- 2006 wechselte er an das Landestheater Linz, das er 2009 verließ, um sich Orchester Bonn, dem Bruckner Orchester Linz und namhaften Originalklang- seiner freiberuflichen Tätigkeit widmen zu können. Ensembles.

Christian Zenker gastierte u. a. bei den Opernfestspielen Schloss Rheinsberg, Christian Zenker ist Preisträger des Förderpreises der Theaterfreunde des den Seefestspielen Mörbisch, den Händel-Festspielen in Halle, den Tiroler Landestheaters. Dresdner Musikfestspielen, den Europäischen Festwochen Passau, den www.christian-zenker.de

38 39 Markus Volpert Die kammermusikalische Betätigung als Liedsänger und Auftritte auf der Markus Volpert (Achior) studierte in Graz bei Wolfgang Gamerith, sein Opernbühne runden die künstlerische Arbeit des Baritons ab. Das breit Solistendiplom mit Auszeichnung erwarb der Bariton bei Kurt Widmer in gefächerte Repertoire von Markus Volpert wird durch eine Vielzahl von Basel. Als Mitglied des Zürcher Opernstudios und in Meisterkursen bei Sena Radiomitschnitten und CD/DVD-Produktionen dokumentiert. Zuletzt hat Jurinac, Christa Ludwig, Elisabeth Schwarzkopf und Thomas Quasthoff sowie er unter der Leitung von Michi Gaigg mit dem L’Orfeo Barockorchester die im Unterricht bei Horst Günter rundete er seine stimmliche Ausbildung ab. Titelpartien der Telemann-Opern Orpheus und Miriways aufgenommen.

Markus Volpert ist Preisträger und Gewinner verschiedener Wettbewerbe Marelize Gerber – darunter der Internationale Johann-Sebastian-Bach-Wettbewerb Leipzig, Die österreichische Koloratursopranistin Marelize Gerber (Amital) wurde der Deutsche Musikwettbewerb in Berlin, der Anneliese Rothenberger- in Kapstadt, Südafrika, geboren. Gesangsstudium bei Mimi Coertse und Wettbewerb, der Grazer Schubert-Wettbewerb und der Francisco-Viñas- Ruthilde Boesch. Sie schloss ihr musikwissenschaftliches Studium mit einem Wettbewerb in Barcelona – und hat wiederholt bei wichtigen Festivals in ganz Master ab. Meisterkurse für Alte Musik bei Mieke van der Sluis, Jesper Mitteleuropa gesungen. Christensen (Schola Cantorum Basiliensis), Peter van Heyghen und Sigrid T’Hooft. Seine Erfahrung als Konzertsänger erwarb sich der Bariton in der Zusammenarbeit mit namhaften Dirigenten, beispielsweise Marcus Bosch, Konzertreisen in die USA, Europa, China, Mexiko, Türkei und Syrien. Michel Corboz, René Jacobs, James Judd, Sigiswald Kuijken, Rudolf Lutz, Auftritte im Wiener Musikverein, Wiener Konzerthaus, Wiener Kammeroper, Hans-Christoph Rademann, Martin Turnovsky und Ralf Weikert, renommierten Grafenegg Musik Festival, trigonale – Festival der Alten Musik, Festival Originalklang-Ensembles wie der Akademie für Alte Musik Berlin, Capriccio Barocco di Viterbo, Internationale Bachtage, BACH XXI GRAZ, Barockfestival Basel, Concerto Köln, dem L’Orfeo Barockorchester, La Cetra und dem St. Pölten, donauFESTWOCHEN im strudengau, Festival Revueltas und Freiburger Barockorchester, sowie zahlreichen europäischen Orchestern. Wiener Operettensommer.

40 41 Musikalische Klangkörper wie das L’Orfeo-, La Tempesta-, J. J. Fux- und Zu ihren maßgeblichen Lehrern zählen Sabine Schütz, Evelyn Tubb und Karlsruher Barockorchester, sowie das Clemencic Consort, Haydn Anthony Rooley. Philharmonie, Capella Leopoldina, Academia Salieri, Musica Figuralis, Prager Bachorchester, Ensemble Saitsiing und -Tientos, Capella Lutherana, Die in Oberbayern geborene Sängerin ist heute in der Nähe von Basel Concertino Amarilli, Musiche Varie und Musica Aeterna prägen ihre ansässig und musizierte als Solistin unter anderem mit Singer Pur, dem vielseitigen Aktivitäten. Collegium Vocale Gent, L’Arpeggiata, La Chapelle Rhénane, L’Orfeo Barockorchester und Cantus Cölln und arbeitete mit Andrew Parrott, Philippe Ihr Repertoire umfasst Werke von der Renaissance bis zum 21. Jahrhundert Herreweghe, Christina Pluhar, Andrea Marcon, Gustav Leonhardt, Manfred mit Schwerpunkt Alte Musik. Sie sang u. a. die Bühnenpremiere von Rameaus Cordes, Hans-Christoph Rademann und Jörg-Andreas Bötticher zusammen. Zéphyre sowie in Agrippina und Clori, Tirsi e Fileno (Händel), Dafne (Caldara), Apollon & Daphne (Cavalli), Nebucadnezar (Keiser), La Lotta D’Hercole con Neben Radiomitschnitten und live-Hörfunkauftritten dokumentieren CD- Acheloo (Steffani), Orpheus (Telemann) und The Fairy Queen (Purcell). und Film-Produktionen die Vielseitigkeit der Sängerin. Ihr schauspielerisches Neben ihrer Tätigkeit im Opernbereich widmet sich Marelize Gerber Interesse kann Ulrike Hofbauer auch auf der Opernbühne unter Beweis dem Aufbau eines anspruchsvollen und vielseitigen Konzert- und stellen. Sie sang unter anderem am Theater Basel und am Theater Bern und Oratorienrepertoires. war als Calisto in Cavallieris gleichnamiger Oper, als Galathea in Händels www.marelizegerber.com Acis and Galathea, als Eurydice in Telemanns Orpheus und in sämtlichen Frauenrollen in Purcells Dido and Aeneas zu hören.

Ulrike Hofbauer Mit ihrem eigenen Ensemble s a v ¯a d i hat sie 2003 den York Early Music Ulrike Hofbauer (Cabri) studierte Gesang und Gesangspädagogik an den International Young Artists Competition und 2004 den Van Wassenaer Hochschulen Würzburg und Salzburg und an der Schola Cantorum Basiliensis. Concours in Den Haag gewonnen. (www.savadi.net). Größer besetzte

42 43 Projekte verwirklicht sie mit ihrem neu gegründeten Ensemble &cetera Händel. In der Spielzeit 2008/2009 war sie Mitglied im Ensemble der Jungen (www.ensemble-etcetera.com). Kammeroper Köln. 2009 gab Barbara Kraus ihr Rollendebüt als Silvia in Joseph Haydns Die wüste Insel (Theater an der Wien). Liederabende und Bis vor Kurzem unterrichtete sie Barockgesang an der Universität Mozarteum Konzerte führen sie regelmäßig nach Österreich, Deutschland und in Innsbruck. die Schweiz.

Ihr Repertoire umfasst alle Epochen und Stilrichtungen. Die intensive Beschäftigung mit musikalischer Rhetorik, Ornamentik und dem „recitar L’Orfeo Barockorchester cantando“ Stil bildet einen Schwerpunkt ihrer künstlerischen Arbeit. Seit seiner Gründung an der Anton Bruckner Privatuniversität Linz im Jahr www.ulrikehofbauer.com 1996 hat sich das international besetzte L’Orfeo Barockorchester einen Platz unter den führenden Ensembles der historisch informierten Aufführungspraxis Barbara Kraus erspielt. Die Synthese aus Repertoire und Pionierarbeit ist ein Markenzeichen Barbara Kraus (Carmi) wurde in Bayern geboren, studierte Gesang an der seiner Konzertprogramme und CD-Einspielungen. L’Orfeo begeistert auch Universität Mozarteum Salzburg bei Marianne Schartner und Wolfgang als Opernorchester, wie zuletzt mit Glucks Orpheus und Eurydike, Georg Holzmair bis zu ihrem Abschluss im Juni 2006, anschließend intensives Philipp Telemanns Miriways (erste szenische Produktion seit mehr als 280 Rollenstudium bei Hanna Ludwig. Barbara Kraus ist Trägerin des „Tassilo“- Jahren) sowie den CD-Veröffentlichungen von Orpheus oder Die wunderbare Kulturförderpreises der Süddeutschen Zeitung. Seit 2003 ist sie wiederholt Beständigkeit der Liebe (Telemann) und Die wüste Insel (Haydn). in Produktionen des L‘Orfeo Barockorchesters unter der Leitung von Michi Gaigg zu hören, so z. B. bei den donauFESTWOCHEN im strudengau in der Mit seiner Diskographie, die von der Suite des französischen Barock über Titelrolle der Oper Zaide (Mozart), als Julie in Romeo und Julie von Georg die Sinfonia des musikalischen Sturm und Drang bis zur Literatur der Klassik Anton Benda oder als Almira in der gleichnamigen Oper von Georg Friedrich und frühen Romantik reicht, setzt das Ensemble regelmäßig Akzente.

44 45 Darunter einige Ersteinspielungen, ausgezeichnet u. a. von Diapason, Einen Schwerpunkt ihrer künstlerischen Arbeit bildet die Oper des 18. Pizzicato („Supersonic Award“), Le Monde de la Musique, Fono Forum, und frühen 19. Jahrhunderts. Unter anderem gelangten bisher unter ihrer Radio Österreich 1 („Pasticcio-Preis“), sowie dem ECHO-Klassik – Leitung zur Aufführung: Händels Opernerstling Almira, Königin von Castilien, Deutscher Musikpreis. Telemanns Orpheus und Miriways, Glucks Orpheus und Eurydike, Zaide und Betulia liberata von W. A. Mozart, Romeo und Julie von Georg Anton Benda, Hohes interpretatorisches Niveau, Farbenreichtum und Klangsensibilität Joseph Haydns Die wüste Insel, sowie eine Trilogie früher Operneinakter von werden dem L’Orfeo Barockorchester von Publikum und Presse immer wieder Gioachino Rossini (Il signor Bruschino, La scala di seta und La cambiale di bestätigt. Ensemblegeist und die enge Bindung an seine Gründerin und matrimonio). Leiterin Michi Gaigg sind die Basis einer erfolgreichen künstlerischen Arbeit. www.lorfeo.com Seit 1994 unterrichtet sie am Institut für Alte Musik und Historische Aufführungspraxis an der Anton Bruckner Privatuniversität in Linz. Michi Michi Gaigg Gaigg ist Intendantin der donauFESTWOCHEN im strudengau und wurde Entscheidende Impulse für ihren musikalischen Werdegang erhielt die durch das Land Oberösterreich mit dem Großen Bühnenkunstpreis und der österreichische Dirigentin und Orchesterleiterin Michi Gaigg während Kulturmedaille ausgezeichnet. ihres Studiums am Salzburger Mozarteum in den Vorlesungen von Nikolaus Harnoncourt um sich anschließend bei Ingrid Seifert und Sigiswald Kuijken der Barockvioline zuzuwenden. Michi Gaigg sammelte wertvolle Erfahrungen in international renommierten Ensembles wie London Baroque sowie unter Frans Brüggen, Alan Curtis, Christopher Hogwood, René Jacobs, Ton Koopman und Hermann Max bevor sie 1996 zusammen mit Carin van Heerden das L’Orfeo Barockorchester gründete.

46 47 Overtura Overture

Parte Prima Part one

Recitativo. Recitative. Ozìa. Popoli di Betulia, ah qual v’ingombra Ozìa. People of Bethulia, ah what shameful vergognosa viltà! Pallidi, afflitti, faint-heartedness constrains you! Tutti mi siete intorno! È ver, ne stringe Pale and sorrowful around me are you all! ‘Tis true, d’assedio pertinace il campo assiro: the Assyrian host lays stubborn siege to us; ma non siam vinti ancor. Dunque sì presto but we are not yet beaten. Do you then cedete alle sventure? Io, più di loro, so quickly yield to misfortune? I fear your dread temo il vostro timor. De’ nostri mali more than I fear them. Of our ills, questo, questo è il peggior: questo ci rende this is the worst: it makes us inabili a’ ripari. Ogni tempesta incapable of defence. Every storm, al nocchier che dispera however slight, is a fatal tempest è tempesta fatal, benché leggiera. to a pilot who despairs.

[No. 1] Aria. Ozìa [No. 1] Aria. Ozìa D’ogni colpa la colpa maggiore Of all faults the worst è l’eccesso d’un empio timore, is an excess of godless fear, oltraggioso all’eterna pietà. offensive to the Eternal One’s compassion.

48 49 Chi dispera non ama, non crede: He who despairs does not love, does not believe, ché la fede, l’amore, la speme for faith, love and hope son tre faci che splendono insieme, are three torches that shine together, né una ha luce se l’altra non l’ha. and one sheds no light without the other.

Recitativo. Recitative. Cabri. E in che sperar? Cabri. And on what can we pin hope? Amital. Nella difesa forse Amital. Perhaps on the protection di nostre schiere indebolite e sceme of our troops, weakened and reduced dall’assidua fatica? estenuate by constant exhaustion, enfeebled dallo scarso alimento? intimorite by lack of food, demoralised dal pianto universal? Fidar possiamo by the universal lamentation? Can we ne’ vicini già vinti? put our trust in already vanquished neighbours, negli amici impotenti? in Dio sdegnato? in impotent friends, in an offended God? Cabri. Scorri per ogni lato Cabri. Scour the wretched city on every side; la misera città; non troverai you will find nothing but objects che oggetti di terror. Gli ordini usati of terror. Normal order is neglected son negletti o confusi. Altri s’adira or confused. Some become angry contro il Ciel, contro te; piangendo accusa with Heaven, or with you; others, altri le proprie colpe antiche e nuove; weeping, declare their own sins, old and new; chi corre, e non sa dove; some run without knowing whither,

50 51 chi geme, e non favella; e lo spavento, some groan without speaking; and fear, come in arida selva appresa fiamma, like a flame in an arid forest, si comunica, e cresce. Ognun si crede spreads and grows. Everyone thinks himself presso a morir. Già ne’ congedi estremi close to death. Already relations si abbracciano a vicenda and friends are embracing, i congiunti, gli amici; ed è deriso taking last farewells chi ostenta ancor qualche fermezza in viso. of each other; and anyone who still shows some firmness of face is derided.

[No. 2] Aria. Cabri [No. 2] Aria. Cabri Ma qual virtù non cede But amid so many, many sights fra tanti oggetti e tanti what strength does not weaken ad avvilir bastanti enough to discourage il più feroce cor? the fiercest heart, Se non volendo ancora if all unwillingly si piange agli altrui pianti, t weeps at others’ tears, se impallidir talora if others pallor at times ci fa l’altrui pallor? makes it turn pale?

Recitativo. Recitative. Ozìa. Già le memorie antiche Ozìa. Then have ancient memories already faded

52 53 dunque andaro in obblio? Che ingrata è questa into oblivion? How ungrateful is this forgetfulness, dimenticanza, o figli! Ah ci sovvenga my children! Let us bear in mind chi siam, qual Dio n’assiste, e quanti, e quali who we are, that God assists, and how many prodigi oprò per noi. Chi a’ passi nostri and what marvels He wrought for us. Can we fear divise l’Eritreo, chi l’onde amare that He who parted the Red Sea for our passage, ne raddolcì, negli aridi macigni who sweetened the bitter waters, chi di limpidi umori who opened abundant springs ampie vene ci aperse, e chi per tante of limpid water in the arid boulders, ignote solitudini infeconde and who guided and fed us through so many ci guidò, ci nutrì, potremo adesso unknown, barren wildernesses, temer che ne abbandoni? Ah no. Minaccia will now abandon us? Ah no! il superbo Oloferne Proud Holofernes già da lunga stagion Betulia; e pure has for long been threatening non ardisce assalirla. Eccovi un segno Betulia, yet he dares not attack it. del celeste favor. Here is a sign to you of Heaven’s favour. Cabri. Sì; ma frattanto Cabri. Yes, but meantime the savage general più crudelmente il condottier feroce lays siege to us more cruelly. ne distrugge sedendo. I fonti, ond’ebbe The tyrant took possession la città, già felice, acque opportune, of the fountains whence il tiranno occupò. L’onda che resta, the once happy city had plentiful water. a misura fra noi The water that remains

54 55 scarsamente si parte; onde la sete is frugally divided between us by ration, irrìta e non appaga, so that it provokes thirst, not slakes it, nutrisce e non estingue. increases and not quenches it. Amital. A tal nemico, Amital. Ah, with what arms che per le nostre vene can we resist such a foe, si pasce, si diffonde, ah con qual’armi who feeds and flourishes on our springs? resisterem? Guardaci in volto; osserva Look at our faces: observe a qual segno siam giunti. Alle querele to what a state we have come. abili ormai non sono i petti stanchi Our breasts, fatigued by constant gasping. dal frequente anelar, le scabre lingue, our swollen tongues, our parched throats le fauci inaridite. Umore al pianto by now are incapable even of lamenting. Our eyes manca su gli occhi nostri, e cresce sempre lack moisture for tears, yet there di pianger la cagion. Né il mal più grande is increasing reason to weep. My own misery per me, che madre sono, is not the greatest tribulation for me, who am a mother: è la propria miseria; i figli, i figli to see my children - o Heaven! - wretchedly vedermi, oh Dio! miseramente intorno declining around me, without being able languir così, né dal mortale ardore to restore their zest for life - this is the distress poterli ristorar; questa è la pena, beyond compare that is not understood che paragon non ha, che non s’intende by those who are not mothers. da chi madre non è. Sentimi, Ozìa: Listen to me, Ozìa: you who rule us, tu sei, tu che ne reggi, are the prime cause of our misery.

56 57 delle miserie nostre God be the judge la primiera cagione. Iddio ne sia between us and you: fra noi giudice e te. Parlar di pace you will not speak of peace with the Assyrian; con l’Assiro non vuoi; perir ci vedi you see us perish amid fra cento affanni e cento; untold anguish; and you sleep, e dormi? e siedi irresoluto e lento? and sit irresolute and inactive?

[No. 3] Aria. Amital [No. 3] Aria. Amital Non hai cor, se in mezzo a questi You have no heart, if amid miserabili lamenti these laments of misery non ti scuoti, non ti desti, you do not stir, You do not wake, non ti senti intenerir. you do not feel compassion. Quanto, oh Dio, siamo infelici If the enemy knew how wretched - se sapessero i nemici, o Heaven! - we were, anche a lor di pianto il ciglio even their eyes would be seen si vedrebbe inumidir. to fill with tears.

Recitativo. Recitative. Ozìa. E qual pace sperate Ozìa. And what peace could you hope for da gente senza legge, e senza fede, from that lawless and faithless people, nemica al nostro Dio? hostile to our God?

58 59 Amital. Sempre fia meglio Amital. It still might be better benedirlo viventi, to live and bless them che in obbrobrio alle genti than die in dishonour before men, morir, vedendo ed i consorti e i figli seeing our husbands and children spirar su gli occhi nostri. perish before our eyes. Ozìa. E se né pure Ozìa. And suppose questa misera vita a voi lasciasse the treacherous enemy were not la perfidia nemica? to spare your wretched life? Amital. Il ferro almeno Amital. At least let the sword kill us swiftly, sollecito ne uccida, e non la sete and not thirst, with so protracted a death. con sì lungo morir. Deh Ozìa, per quanto Ah Ozìa, by all that is sacred and noble han di sacro e di grande e terra e cielo, on earth and in heaven, per lui, ch’or ne punisce, by Him who now is punishing us, gran Dio de’ padri nostri, all’armi assire the great God of our fathers, rendasi la città. surrender the city to the Assyrian army. Ozìa. Figli, che dite! Ozìa. My children, what are you saying! Amital. Sì, sì, Betulia intera Amital. Yes, yes, the whole of Betulia parla per bocca mia. S’apran le porte, speaks through my lips, Let the gates be opened alla forza si ceda: uniti insieme and yield to force: let us all together volontari corriamo freely hasten to Holofernes’ camp. al campo d’Oloferne. Unico scampo This is the only solution;

60 61 è questo; ognun lo chiede. everyone demands it. Coro. Al campo, al campo. Chorus. To the camp, to the camp! Ozìa. Fermatevi, sentite. (Eterno Dio, Ozìa. Stop! Listen! (Eternal God, help me, assistenza, consiglio!) Io non m’oppongo, advise me!) My children, figli, al vostro pensier: chiedo che solo I will not oppose your intention: I ask only differirlo vi piaccia, e più non chiedo that you agree to defer it, and I ask che cinque dì. Prendete ardir. Frattanto no more than five days. Be of good courage. forse Dio placherassi, e del suo nome Meantime perhaps God may relent, and will la gloria sosterrà. Se giunge poi uphold the glory of His name, If the fifth dawn senza speme per noi la quinta aurora, rises without hope for us, s’apra allor la città, rendasi allora. let the city then be opened and surrendered. Amital. A questa legge attenderemo. Amital. We will wait for this ordinance. Ozìa. Or voi Ozìa. Now you and yours join in co’ vostri accompagnate these fervent prayers questi che al Ciel fervidi prieghi invio, I address to Heaven, faithful messengers nunzî fedeli in fra’ mortali, e Dio. between mortals and God.

[No. 4] Coro. [No. 4] Chorus. Ozìa. Pietà, se irato sei, Ozìa. Have mercy, Lord, on us, pietà, Signor, di noi: mercy if Thou art angry: abbian castigo i rei, let the guilty be punished,

62 63 ma l’abbiano da te. but punished by Thee. Coro. Abbian castigo i rei, Chorus. Let the guilty be punished, ma l’abbiano da te. but punished by Thee. Ozìa. Se oppresso chi t’adora Ozìa. If Thou sufferest those who adore Thee soffri da chi t’ignora, to be oppressed by those who know Thee not, gli empî diranno poi: the heathen will then say: questo lor Dio dov’è? “Where is this God of theirs?” Coro. Gli empî diranno poi: Chorus. The heathen will then say: questo lor Dio dov’è? “Where is this God of theirs?”

Recitativo. Recitative. Cabri. Chi è costei, che qual sorgente aurora Cabri. Who is this who approaches us s’appressa a noi; terribile all’aspetto like the rising dawn, terrible to the sight qual falange ordinata; e a paragone as an ordered cohort, and of a beauty della luna, del Sol bella ed eletta? and distinction comparable to the moon and sun? Amital. Alla chioma negletta, Amital. From her neglected tresses, al rozzo manto, alle dimesse ciglia, coarse mantle and modest eyes di Merari è la figlia. it is Merari’s daughter. Ozìa. Giuditta! Ozìa. Giuditta! Cabri. Sì, la fida Cabri. Yes, the faithful vedova di Manasse. widow of Manasses.

64 65 Ozìa. Qual mai cagion la trasse Ozìa. Whatever reason has drawn her forth dal segreto soggiorno in cui s’asconde, from the secret abode in which, for nearly volge il quart’anno ormai? four years now, she has been hiding? Amital. So ch’ivi orando Amital. I know that she spends passa desta le notti, the nights awake and praying, digiuna i dì: so che donolle il Cielo and the days fasting: I know e ricchezza e beltà; ma che disprezza that Heaven gave her both riches and beauty, la beltà, la ricchezza; e tal divenne, but that she disdains both; che ritrovar non spera and that she has become such that envy, in lei macchia l’invidia o finta o vera. assumed or real, can find no blemish in her. Ma non saprei … But I would not know ... Giuditta. Che ascolto, Ozìa! Giuditta. What do I hear, Ozìa? Betulia, aimè, che ascolto! All’armi assire Alas, Betulia, what do I hear? dunque aprirem le porte, ove non giunga Shall we then open the gates to the Assyrian army soccorso in cinque dì! Miseri! E questa if help does not arrive in five days? Wretches! è la via d’impetrarlo? Ah Tutti siete ls this the way to seek it? Ah, you are all colpevoli egualmente. Ad un estremo equally guilty. The people have gone il popolo trascorse: e chi lo regge to one extreme, and their ruler nell’altro ruinò. Quello dispera has fallen into the other. della pietà divina: ardisce questo One despairs of divine mercy, the other limitarle i confini. Il primo è vile, dares to limit its extent The first is base,

66 67 temerario il secondo. A chi la speme, the second reckless. One lacks hope, a chi manca il timor: né in questo o in quella the other awe: neither one nor other misura si serbò. Vizio ed eccesso has retained moderation. Depravity and excess are non è diverso. Alla virtù prescritti no different. To power certain limits are laid down; sono i certi confini; e cade ognuno, and everyone who deviates from them in whatever che per qualunque via da lor si scosta, way, even though those ways be opposite, in colpa egual, benché talvolta opposta. falls into equal error.

[No. 5] Aria. Giuditta [No. 5] Aria. Giuditta Del pari infeconda Equally barren d’un fiume è la sponda is the bank of the river se torbido eccede, whether it rises in turbulence se manca d’umor. or lacks for moisture. Si acquista baldanza Presumption comes per troppa speranza, from too much hope, si perde la fede faith is lost per troppo timor. through too much fear.

Recitativo. Recitative. Ozìa. Oh saggia, oh santa, oh eccelsa donna! Iddio Ozìa. O wise, o godly, o noble woman! anima i labbri tuoi. God prompts your words.

68 69 Cabri, Da tali accuse Cabri. Who can escape chi si può discolpar? such censure? Ozìa. Deh tu, che sei Ozìa. O you who are dear to the Lord, cara al Signor, per noi perdono implora; implore pardon for us: ne guida, ne consiglia. guide and counsel us. Giuditta. In Dio sperate Giuditta. Trust in God, soffrendo i vostri mali. Egli in tal guisa suffering your ills. corregge, e non opprime; ei de’ più cari In such a way does He admonish, not oppress, us; così prova la fede: e Abramo e Isacco, thus He tests the faith e Giacobbe e Mosè diletti a lui of those most dear to Him; divennero così. Ma quei che osaro thus Abraham and Isaac, Jacob and Moses, oltraggiar mormorando became His delight. But those who dared la sua giustizia, o delle serpi il morso insult His justice by murmuring He destroyed o il fuoco esterminò. Se in giusta lance either by the serpent’s bite or by fire. pesiamo i falli nostri, assai di loro If we weigh our defects in a true balance, è minore il castigo: onde dobbiamo the punishment for them is very slight; grazie a Dio, non querele. Ei ne consoli wherefore we owe thanks to God, not complaints. secondo il voler suo. Gran prove io spero Let Him console us according to His will. della pietà di lui. Voi che diceste I hope for great proofs of His mercy. che muove i labbri miei, credete ancora You who say He prompts my words, ch’ei desti i miei pensieri. Un gran disegno continue to believe that He guides my thoughts.

70 71 mi bolle in mente, e mi trasporta. Amici, A great plan is boiling up in my mind, non curate saperlo. Al sol cadente and excites me. Friends, do not seek to know it. della città m’attendi, At sunset, Ozìa, wait for me Ozìa, presso alle porte. Alla grand’opra by the city gate. I go to prepare myself a prepararmi io vado. Or, fin ch’io torni, for the great work. Until I return, voi con prieghi sinceri second my devout thoughts secondate divoti i miei pensieri. with your heartfelt prayers.

[No. 6] Coro. [No. 6] Chorus. Ozìa. Pietà, se irato sei, Ozìa. Have mercy, Lord, on us, pietà, Signor, di noi: mercy if Thou art angry: abbian castigo i rei, let the guilty be punished, ma l’abbiano da te. but punished by Thee. Coro. Abbian castigo i rei, Chorus. Let the guilty be punished, ma l’abbiano da te. but punished by Thee. Ozìa. Se oppresso chi t’adora Ozìa. If Thou sufferest those who adore Thee soffri da chi t’ignora, to be oppressed by those who know Thee not, gli empî diranno poi: the heathen will then say: questo lor Dio dov’è? “Where is this God of theirs?” Coro. Gli empî diranno poi: Chorus. The heathen will then say: questo lor Dio dov’è? “Where is this God of theirs?”

72 73 Recitativo. Recitative. Cabri. Signor, Carmi a te viene. Cabri. My lord, Carmi is come to see you. Amital. E la commessa Amital. And has he abandoned custodia delle mura the custody of the walls abbandonò? entrusted to him? Ozìa. Carmi, che chiedi? Ozìa. What would you, Carmi? Carmi. Io vengo Carmi. I have come un prigioniero a presentarti. Avvinto to bring you a prisoner. ad un tronco il lasciaro The enemy forces left him vicino alla città le schiere ostili: bound to a tree near the city, Achiorre è il suo nome; Achior is his name: he is degli Ammoniti è il prence. the prince of the Ammonites. Ozìa. E così tratta Ozìa. Is this how Holofernes Oloferne gli amici? treats his friends? Achior. È de’ superbi Achior. This is the customary style questo l’usato stil. Per loro è offesa of the arrogant. To them il ver che non lusinga. an unflattering truth is an affront. Ozìa. I sensi tuoi Ozìa. Explain your meaning spiega più chiari. more clearly. Achior. Ubbidirò. Sdegnando Achior. I will obey. The Assyrian general,

74 75 l’assiro condottier che a lui pretenda angry that Betulia dared to resist him, di resister Betulia, a me richiese from me sought knowledge of you. di voi notizia. Io, le memorie antiche Recalling to mind ancient memories, richiamando al pensier, tutte gli esposi I made known to him all the origins del popol d’Israele and progress of the children of Israel - le origini, i progressi; il culto avito the ancestral cult of numerous gods, de’ numerosi dèi, che per un solo which your fathers changed to one alone; cambiaro i padri vostri; i lor passaggi their passage from Chaldea into Canaan dalle caldee contrade thence into Egypt; the harsh rule of that cruel king. in Carra, indi in Egitto; i duri imperi I told him of your marvellous flight, di quel barbaro re. Dissi la vostra the long wanderings, the miraculous supplies, prodigiosa fuga, i lunghi errori, the food and water, the battles and victories; le scorte portentose, i cibi, l’acque, and I demonstrated to him that, le battaglie, i trionfi; e gli mostrai when you were faithful to your God, che, quando al vostro Dio foste fedeli, He always fought for you. Finally sempre pugnò per voi. Conclusi al fine I ended with these words: “Let us find i miei detti così: «Cerchiam, se questi whether they are unfaithful to their God, al lor Dio sono infidi; e se lo sono, and if they are, victory is ours. la vittoria è per noi. Ma se non hanno But if they have not sinned before Him, delitto innanzi a lui, no, non la spero, no, do not hope for it, or you will become movendo anche a lor danno il mondo intero.» a reproach before all the world.”

76 77 Ozìa. Oh eterna verità, come trionfi Ozìa. O eternal truth, how you triumph anche in bocca a’ nemici! even in the mouths of enemies! Achior. Arse Oloferne Achior. Holofernes blazed with anger at my words. di rabbia a’ detti miei. Da sé mi scaccia, He drove me from him in Betulia m’invia; and sent me into Betulia; e qui l’empio minaccia and here the pitiless man threatened oggi alla strage vostra unir la mia. to slaughter me along with you today. Ozìa. Costui dunque si fida Ozìa. Is he then tanto del suo poter? so confident of his power? Amital. Dunque ha costui Amital. Then has he sì poca umanità? so little humanity? Achior. Non vede il sole Achior. The sun does not see anima più superba, a more haughty soul, più fiero cor. Son tali a more savage heart. i moti, i detti sui, Such are his words and deeds che trema il più costante in faccia a lui. that the most steadfast trembles before him.

[No. 7] Aria. Achior. [No. 7] Aria. Achior Terribile d’aspetto, Terrible of aspect, barbaro di costumi, barbarous of manner, o conta sé fra’ numi either he counts himself among the gods

78 79 o nume alcun non ha. or he has no god at all. Fasto, furor, dispetto Pride, fury, scorn sempre dagli occhi spira; always flash from his eyes; e quanto è pronto all’ira, and he is as quick to wrath è tardo alla pietà. as he is slow to mercy.

Recitativo. Recitative. Ozìa. Ti consola, Achior. Quel Dio, di cui Ozìa. Be consoled, Achior. That God predicasti il poter, l’empie minacce whose power you foretold will turn back torcerà su l’autor. Né a caso il Cielo his impious threats upon their author. ti conduce fra noi. Tu de’ nemici It was not by chance that Heaven led you potrai svelar … among us. You can reveal the enemy’s ... Cabri. Torna Giuditta. Cabri. Giuditta is returning. Ozìa. Ognuno Ozìa. All leave me now. s’allontani da me. Conviene, o prence, Prince, I must defer my questions. differir le richieste. Al mio soggiorno Servants, conduct him to my house: conducetelo, o servi: anch’io fra poco I will come to you there soon. a te verrò. Vanne, Achiorre, e credi Go, Achior, and believe that, che in me, lungi da’ tuoi, far from your people, in me l’amico, il padre, il difensore avrai. you shall find friend, father and defender. Achior. Ospite sì pietoso io non sperai. Achior. I did not expect so compassionate a host.

80 81 Ozìa. Sei pur Giuditta, o la dubbiosa luce Ozìa. Are you Judith, or does the uncertain light mi confonde gli oggetti? confuse what I see? Giuditta. Io sono. Giuditta. I am she. Ozìa. E come Ozìa. But why have you in sì gioconde spoglie changed your mourning le funeste cambiasti? Il bisso e l’oro, for such glad attire? Why have you again l’ostro, le gemme a che riprendi, e gli altri put on fine linen and gold, purple, gems and fregi di tua bellezza abbandonati? the other abandoned adornments of your beauty? Di balsami odorati Your braided hair stilla il composto crin! Chi le tue gote exudes scented balsams! tanto avviva e colora? I moti tuoi Who has so revived the colour of your cheeks? chi adorna oltre il costume Who has decked your movements beyond di grazia e maestà? Chi questo accende the usage of grace and grandeur? Who has lit insolito splendor nelle tue ciglia, the unwanted splendour in your eyes, che a rispetto costringe e a meraviglia? which compels respect and admiration? Giuditta. Ozìa, tramonta il sole; Giuditta. Ozìa, the sun is setting; fa che s’apran le porte: uscir degg’io. command the gates to be opened: I must go out. Ozìa. Uscir! Ozìa. Go out! Giuditta. Sì. Giuditta. Yes. Ozìa. Ma fra l’ombre, inerme e sola Ozìa. But in the darkness, unarmed così … and alone like this …

82 83 Giuditta. Non più. Fuor che la mia seguace, Giuditta. No more. Other than my serving-maid altri meco non voglio. I want no one with me. Ozìa. (Hanno i suoi detti Ozìa. (Her words hold something, I know not what, un non so che di risoluto e grande, of resolution and grandeur which fills and che m’occupa, m’opprime.) Almen … Vorrei … oppresses me.) At least ... I wish ... My daughter ... Figlia … (chi’l crederia! né pur ardisco (Who would believe it! I dare not even chiederle dove corra, in che si fidi.) ask her where she is going or what she relies on.) Figlia … va: Dio t’inspira; egli ti guidi. Go ... my daughter: may God inspire and guide you.

[No. 8] Aria. Giuditta [No. 8] Aria. Giuditta Parto inerme, e non pavento; I go forth unarmed and unafraid; sola parto, e son sicura; I go alone but secure; vo per l’ombre, e orror non ho. I go through the darkness but have no fear. Chi m’accese al gran cimento He who fired me to this great trial m’accompagna e m’assicura: accompanies and protects me: l’ho nell’alma, ed io lo sento I have Him in my spirit, and hear Him reply replicar che vincerò. that I shall be victorious.

[No. 9] Coro. [No. 9] Chorus. Coro. Oh prodigio! Oh stupor! Privata assume Chorus. O marvel! O amazement! delle pubbliche cure That an unwarlike woman on her own

84 85 donna imbelle il pensier! Con chi governa should take on the responsibility of public cares non divide i consigli! A’ rischi esposta without sharing her counsel with the governor, imprudente non sembra! Orna con tanto should be exposed to risks without seeming studio se stessa; e non risveglia un solo imprudent! She adorns herself with such care, dubbio di sua virtù! Nulla promette, yet arouses not a single doubt of her virtue! e fa tutto sperar! Qual fra’ viventi She promises nothing yet gives us all hope! può l’Autore ignorar di tai portenti? Could the Author of such wonders disregard such a being?

Parte Seconda Part two

Recitativo. Rezitativ. Achior. Troppo mal corrisponde (Ozìa, perdona) Achior. To show such contempt for our gods a’ tuoi dolci costumi ill accords (forgive me, Ozìa) tal disprezzo ostentar de’ nostri numi. with your gentle manners. Io così, tu lo sai, As you know, I did not speak del tuo Dio non parlai. like this of your God. Ozìa. Principe, è zelo Ozìa. Prince, what you call uncouthness quel che chiami rozzezza. In te conobbi is zeal. In you I perceived chiari semi del vero; e m’affatico clear grains of the truth; and I am a farli germogliar. struggling to make them germinate. Achior. Ma non ti basta Achior. Is it not enough for you

86 87 ch’io veneri il tuo Dio? that I respect your God? Ozìa. No: confessarlo Ozìa. No: everyone must unico per essenza acknowledge Him one alone in substance debbe ciascuno, ed adorarlo solo. and worship Him alone. Achior. Ma chi solo l’afferma? Achior. But who asserts that He is one? Ozìa. Il venerato Ozìa. The revered accord consenso d’ogni età; degli avi nostri of every generation; la fida autorità; l’istesso Dio the reliable authority of our ancestors; di cui tu predicasti that same God whose wonders and power i prodigi, il poter; che di sua bocca you foretold, which He revealed lo palesò; che, quando in His own voice: se medesmo descrisse, for when He described Himself disse: «Io son quel che sono»; e tutto disse. He said: “I am that I am,” and said everything. Achior. L’autorità de’ tuoi produci in vano Achior. In vain you quote the authority of your people con me nemico. against me, your antagonist. Ozìa. E ben, con te nemico Ozìa. Well, my authority does not prevail l’autorità non vaglia. Uom però sei; with you, my adversary. But you are a man: la ragion ti convinca. A me rispondi reason will convince you. Answer me con animo tranquillo. Il ver si cerchi, with a tranquil mind: seek the truth, non la vittoria. not victory. Achior. Io già t’ascolto. Achior. I am listening.

88 89 Ozìa. Or dimmi: Ozìa. Then tell me, credi, Achior, che possa do you believe, cosa alcuna prodursi Achior, that anything can be done senza la sua cagion? without its reason? Achior. No. Achior. No. Ozìa. D’una in altra Ozìa. Passing in thought passando col pensier, non ti riduci from one thing to another, qualche cagione a confessar, da cui do you not come to acknowledge tutte dipendan l’altre? some cause on which all else depends? Achior. E ciò dimostra Achior. That shows that there is a God, che v’è Dio, non che è solo. Esser non ponno not that He is one. queste prime cagioni i nostri dèi? Can our gods not be prime causes? Ozìa. Quali dèi, caro Prence? I tronchi, i marmi Ozìa. What gods, dear prince? Tree-trunks sculti da voi? and marble that you have carved? Achior. Ma se que’ marmi a’ saggi Achior. But if those stones were to the wise fosser simboli sol delle immortali merely symbols of the immortal creative beings, essenze creatrici, ancor diresti would you still say che i miei dèi non son dèi? that my gods are not gods? Ozìa. Sì, perché molti. Ozìa. Yes, because they are many. Achior. Io ripugnanza alcuna Achior. I see no obstacle nel numero non veggo. in numbers,

90 91 Ozìa. Eccola. Un Dio Ozìa. Here is one. concepir non poss’io, I cannot imagine a God se perfetto non è. who is not perfect. Achior. Giusto è il concetto. Achior. The idea is a just one. Ozìa. Quando dissi perfetto, Ozìa. When I said perfect dissi infinito ancor. I also meant infinite. Achior. L’un l’altro include: Achior. One includes the other: non si dà chi l’ignori. of that there can be no question. Ozìa. Ma l’essenze che adori, Ozìa. But the beings you worship, if they are several, se son più, son distinte; e, se distinte, are distinct; and if distinct, there are boundaries han confini fra lor. Dir dunque déi between them. You then must say either che ha confin l’infinito, o non son dèi. that the infinite has boundaries or that they are not gods. Achior. Da questi lacci, in cui Achior. I must admit, I cannot free myself m’implica il tuo parlar, cedasi al vero, from these traps in which your words disciogliermi non so: ma non per questo have caught me; but I am not convinced persuaso son io. D’arte ti cedo, by this. I yield to your art, non di ragione. E abbandonar non voglio not to your reason. And I do not wish gli dèi che adoro e vedo, to desert the gods per un dio che non posso I worship and can see né pure immaginar. for a God whom I cannot even imagine. Ozìa. S’egli capisse Ozìa. If we could imagine Him,

92 93 nel nostro immaginar, Dio non sarebbe. He would not be God. Chi potrà figurarlo? Egli di parti, Who can envisage Him? He does not consist come il corpo, non consta; egli in affetti, of parts, like the body; He is not distinct come l’anime nostre, in concept, like our souls; non è distinto; ei non soggiace a forma, He is not subject to form, like all creation; come tutto il creato; e se gli assegni and if you assign parts, concepts, form to Him, parti, affetti, figura, il circonscrivi, you circumscribe Him, perfezion gli togli. you mar His perfection. Achior. E quando il chiami Achior. And when you yourself call Him tu stesso e buono e grande, both good and great, no’l circonscrivi allor? do you not then circumscribe Him? Ozìa. No; buono il credo, Ozìa. No; I think Him good, ma senza qualità; grande, ma senza but without quality; great, quantità, né misura; ognor presente, but without quantity, infinite; omnipresent, senza sito o confine; e, se in tal guisa without place or confine; and if in this way qual sia non spiego, almen di lui non formo I cannot explain what He is, at least I do not un’idea che l’oltraggi. form an idea of Him that offends Him. Achior. È dunque vano Achior. So it is useless lo sperar di vederlo. to hope to see Him. Ozìa. Un dì potresti Ozìa. One day you will be able meglio fissarti in lui: ma puoi frattanto better to decide about Him;

94 95 vederlo ovunque vuoi. but meantime you can see Him wherever you wish. Achior. Vederlo! E come, Achior. See Him! But how, se immaginar no’l so? if I cannot imagine Him? Ozìa. Come nel sole Ozìa. As you vainly seek a fissar le pupille in vano aspiri, to fix your eyes on the sun, and yet e pur sempre e per tutto il sol rimiri. the sun always shines, and on everything.

[No. 10] Aria. Ozìa [No. 10] Aria. Ozìa Se Dio veder tu vuoi, If you wish to see God, guardalo in ogni oggetto; look at Him in everything: cercalo nel tuo petto, if you seek Him in your heart, lo troverai con te. you will find Him with you. E se dov’ei dimora And if you cannot conceive non intendesti ancor, where He dwells, confondimi, se puoi; confound me if you can: dimmi, dov’ei non è. tell me where He does not dwell.

Recitativo. Recitative. Achior. Confuso io son; sento sedurmi, e pure Achior. I am confused; I feel tempted, ritorno a dubitar. and yet my doubts return. Ozìa. Quando il costume Ozìa. When habit

96 97 alla ragion contrasta, conflicts with reason, avvien così. Tal di negletta cetra it happens so. It is like struggling to tune musica man le abbandonate corde the neglected strings of a discarded lyre, stenta a temprar, perché vibrate appena that scarcely vibrate si rallentan di nuovo. if further slackened. Amital. Ah dimmi, Ozìa, Amital. Ah tell me, Ozìa, what is happening, che si fa, che si pensa? Io non intendo what are your intentions? I do not understand che voglia dir questo silenzio estremo the meaning of this extreme silence a cui passò Betulia that has overtaken Betulia dall’estremo tumulto. Il nostro stato after its extreme uproar. Our state punto non migliorò. Crescono i mali, has not improved a jot. Our ills increase, e sceman le querele. Ognun chiedea but complaints decline. Yesterday everyone ieri aita e pietà; stupido ognuno was begging for help and mercy; today oggi passa, e non parla. Ah parmi questo everyone walks around dully, without speaking. un presagio per noi troppo funesto! Ah, this seems too gloomy an omen for us!

[No. 11] Aria. Amital [No. 11] Aria. Amital Quel nocchier che in gran procella That pilot who in a great storm non s’affanna e non favella, is not anxious and does not speak è vicino a naufragar. is close to shipwreck. È vicino all’ore estreme That sick man who does not groan

98 99 quell’infermo che non geme but has reason to sigh e ha cagion di sospirar. is near his last hour.

Recitativo. Recitative. Ozìa. Lungamente non dura Ozìa. Excessive grief eccessivo dolor. Ciascuno a’ mali does not last long. o cede o s’accostuma. Il nostro stato Everyone either yields to ills non è però senza speranza. or gets used to them, And yet Amital. Intendo: our state is not without hope. tu in Giuditta confidi. Ah questa parmi Amital. I understand: troppo folle lusinga. you rely on Judith. Coro (in lontanto). All’armi, all’armi! Ah, I think that too wild an expectation. Ozìa. Quai grida! Chorus. To arms, to arms! Cabri. Accorri, Ozìa. Senti il tumulto Ozìa. What are those shouts? che fra’ nostri guerrieri Cabri. Hurry, Ozìa. Do you hear là si destò presso alle porte? the noise raised by our warriors Ozìa. E quale by the gates! n’è la cagion? Ozìa. And what is the reason for it? Cabri. Chi sa? Cabri. Who knows? Amital. Miseri noi! Amital. Mercy on us! Saran giunti i nemici. The enemy is here.

100 101 Ozìa. Corrasi ad osservar. Ozìa. Let us run and see. Giuditta. Fermate, amici. Giuditta. Stop, friends. Ozìa. Giuditta! Ozìa. Giuditta! Amital. Eterno Dio! Amital. Eternal God! Giuditta. Lodiam, compagni, Giuditta. Praise, my friends, Praise our Lord’ lodiamo il Signor nostro. Ecco adempite Behold, His promises are fulfilled: le sue promesse: ei per mia man trionfa; He triumphs by my hand: la nostra fede egli premiò. He has rewarded our faith. Ozìa. Ma questo improvviso tumulto … Ozìa. But this sudden tumult ... Giuditta. Io lo destai; Giuditta. It was my doing: non vi turbi. A momenti do not be disturbed. ne udirete gli effetti. In a few moments you will hear the effects. Ozìa. E se frattanto Ozìa. But meanwhile Oloferne … if Holofernes ... Giuditta. Oloferne Giuditta. Holofernes già svenato morì. has been slain. Amital. Che dici mai! Amital. What are you saying? Achior. Chi ha svenato Oloferne? Achior. Who slew Holofernes?? Giuditta. Io lo svenai. Giuditta. I slew him. Ozìa. Tu stessa! Ozìa. You! Achior. E quando? Achior. But when?

102 103 Amital. E come? Amital. And how? Giuditta. Udite. Appena Giuditta. Listen. Hardly had I left Betulia da Betulia partii, che m’arrestaro than the enemy watch arrested me. le guardie ostili. Ad Oloferne innanzi I was brought by them before Holofernes: son guidata da loro. Egli mi chiede he asked me why I had come and who I was. a che vengo e chi son. Parte io gli scopro, I disclosed part of the truth to him taccio parte del vero. Ei non intende, but concealed part- He did not understand e approva i detti miei. Pietoso, umano but was pleased with what I said. He heard me (ma straniera in quel volto and received me kindly and benevolently (though mi parve la pietà) m’ode, m’accoglie, kindness seemed to me a stranger to that face), m’applaude, mi consola. A lieta cena he applauded and comforted me. He invited me seco mi vuol. Già su le mense elette to a joyful banquet with him. On the special tables fumano i vasi d’or; già vuota il folle the golden vessels were already smoking; already fra’ cibi ad or ad or tazze frequenti the madman was every moment, between dishes, di licor generoso; e a poco a poco emptying frequent cups of strong wine; comincia a vacillar. Molti ministri and little by little he was beginning to sway. eran d’intorno a noi; ma ad uno ad uno Many servitors were around us; but one by one Tutti si dileguar. L’ultimo d’essi all disappeared. The last of these to remain, rimaneva, e il peggior. L’uscio costui and the worst, closed the door as he departed chiuse partendo, e mi lasciò con lui. and left me with him. Amital. Fiero cimento! Amital. Fearful danger!

104 105 Giuditta. Ogni cimento è lieve Giuditta. Every danger is slight to the inspired heart. ad inspirato cor. Scorsa gran parte By now a great part of the night had elapsed. era ormai della notte. Il campo intorno The camp all around was silent, wrapped nel sonno universal taceva oppresso. in universal sleep. Holofernes himself, Vinto Oloferne istesso overcome by the wine, in which he had indulged dal vino, in cui s’immerse oltre il costume, beyond his custom, was asleep, stretched out steso dormia su le funeste piume. on the fatal bed. I rose, Sorgo; e tacita allor colà m’appresso, and silently then drew near to where he lay, dove prono ei giacea. Rivolta al Cielo face down. Addressing myself to heaven, più col cuor, che col labbro: «Ecco l’istante», I said, more with my heart than my lips, dissi, «oh Dio d’Israel, che un colpo solo “This is the moment, o God of Israel, liberi il popol tuo. Tu’l promettesti; when a single stroke may liberate Thy people. in te fidata io l’intrapresi; e spero Thou didst make this promise; trusting in Thee, assistenza da te.» Sciolgo, ciò detto, I undertook the task; and I look to Thee for aid.” da’ sostegni del letto Having said this, I untied the falchion hung l’appeso acciar; lo snudo; il crin gli stringo on the pillars of his bed, bared it, held his hair con la sinistra man; l’altra sollevo with my left hand, raised the other quanto il braccio si stende; i voti a Dio to the full length of my arm, rinnovo in sì gran passo, renewed my vows to God at so great a moment, e su l’empia cervice il colpo abbasso. and smote the blow upon his wicked neck. Ozìa. Oh coraggio! Ozìa. What courage!

106 107 Amital. Oh periglio! Amital. What danger! Giuditta. Apre il barbaro il ciglio; e, incerto ancora Giuditta. The barbarian opened his eyes and, still uncertain fra’l sonno e fra la morte, il ferro immerso between sleep and death, felt the sword plunged sentesi nella gola. Alle difese into his throat. He attempted sollevarsi procura; e gliel contende to rise and defend himself, l’imprigionato crin. Ricorre a’ gridi; but his fettered hair prevented him. He resorted ma interrotte la voce to cries, but his voice trova le vie del labbro, e si disperde. found the way to his lips barred, Replico il colpo: ecco l’orribil capo and was lost. I repeated the blow, and Io, dagli omeri diviso. the fearful head Guizza il tronco reciso was cleft from his shoulders. sul sanguigno terren: balzar mi sento The severed trunk quivered on the blood-stained il teschio semivivo ground: I felt the half-dead skull sotto la man che il sostenea. Quel volto start beneath the hand that held it. a un tratto scolorir; mute parole I saw that face suddenly lose colour, quel labbro articolar; quegli occhi intorno those lips frame mute words, those eyes seeking cercar del sole i rai, all round the light of the sun; I saw him die, morire, e minacciar vidi, e tremai. threatening, and I trembled. Amital. Tremo in udirlo anch’io. Amital. I too trembled to hear it. Giuditta. Respiro al fine; e del trionfo illustre Giuditta. At last I breathed again, and gave thanks to the rendo grazie all’Autor. Svelta dal letto Creator for this signal triumph.

108 109 la superba cortina, il capo esangue Pulling down from the bed the splendid canopy, sollecita ne involgo; alla mia fida I quickly wrapped in it the lifeless head; I gave it ancella lo consegno, to my faithful maid, who had been waiting nearby; che non lungi attendea; del duce estinto I stole away from the dead general to the pavilion, m’involo al padiglion; passo fra’ suoi passed unseen and unchallenged through the camp, non vista, o rispettata, e torno a voi. and returned to you. Ozìa. Oh prodigio! Ozìa. Oh marvellous! Cabri. Oh portento! Cabri. Oh wondrous! Achior. Inerme e sola Achior. Unarmed and alone, tanto pensar, tanto eseguir potesti! you could plan and perform this! E crederti degg’io? Am I to believe you? Giuditta. Credilo a questo, Giuditta. Believe this that I disclose ch’io scopro agli occhi tuoi, teschio reciso. to your eyes, the severed head. Achior. Oh spavento! È Oloferne: io lo ravviso. Achior. How fearful! It is Holofernes: I recognise him. Ozìa. Sostenetelo, o servi: il cor gli agghiaccia Ozìa. Support him, servants: sudden terror l’improvviso terror. has turned his heart to ice. Amital. Fugge quell’alma Amital. His spirit flees per non cedere al ver. so as not to yield to the sight. Giuditta. Meglio di lui Giuditta. Let us think better of him, Amital. giudichiamo, Amital. Forse quel velo Perhaps that veil which obscured his mind che gli oscurò la mente now is torn away all at once.

110 111 a un tratto or si squarciò. Non fugge il vero, It does not flee from the truth, ma gli manca il costume but he is unaccustomed l’impeto a sostener di tanto lume. to sustain the rush of so much light.

[No. 12] Aria. Giuditta [No. 12] Aria. Giuditta Prigionier, che fa ritorno The prisoner who returns dagli orrori al dì sereno, from horrid night to peaceful day chiude i lumi a’ rai del giorno, closes his eyes to the sunlight e pur tanto il sospirò. for which he yearned so much. Ma così fra poco arriva But soon he is able a soffrir la chiara luce: to bear the radiant light, ché l’avviva e lo conduce because the splendour which dazzled him lo splendor che l’abbagliò. animates and guides him.

Recitativo. Recitative. Achior. Giuditta, Ozìa, popoli, amici: io cedo, Achior. Giuditta, Ozìa, people, friends: I field, vinto son io. Prende un novello aspetto I am vanquished. Everything takes on ogni cosa per me. Da quel che fui a new aspect for me. I know not who non so chi mi trasforma: in me l’antico has transformed me from what I was: Achior più non trovo. Altri pensieri, I no longer find the old Achior in me. sento altre voglie in me. Tutto son pieno, I am filled, entirely filled, with your God.

112 113 tutto del vostro Dio. Grande, infinito, I acknowledge Him great, infinite, one, unico lo confesso. I falsi numi I hate and abhor the false gods odio, detesto, e i vergognosi incensi, and the shameful adulation that I che lor credulo offersi. Altri non amo, credulously offered them. I love no other, non conosco altro Dio che il Dio d’Abramo. I recognise no other god than the God of Abraham.

[No. 13] Aria. Achior [No. 13] Aria. Achior Te solo adoro, Thee alone I adore, mente infinita, infinite Mind. fonte di vita, Source of life di verità; and of truth. in cui si muove, in which moves, da cui dipende on which depends, quanto comprende everything that l’eternità. eternity comprehends.

Recitativo. Recitative. Ozìa. Di tua vittoria un glorioso effetto Ozìa. You see a glorious result vedi, o Giuditta. from your victory, o Giuditta. Amital. E non il solo. Anch’io Amital. And not the only one. I too have sinned; peccai; mi pento. Il mio timore offese I repent. My fear was an affront

114 115 la divina pietà. Fra’ mali miei, to divine mercy. In my tribulations, o God, mio Dio, non rammentai che puoi, chi sei. I forgot what thou canst, what thou art.

[No. 14] Aria. Amital [No. 14] Aria. Amital Con troppa rea viltà With too culpable baseness quest’alma ti oltraggiò, my soul insulted Thee allor che disperò when it despaired del tuo soccorso. of Thy succour. Pietà, Signor, pietà; Have mercy, Lord, mercy, giacché il pentito cor since my penitent heart misura il proprio error matches its own error col suo rimorso. with its remorse.

Recitativo. Recitative. Cabri. Quanta cura hai di noi, Bontà Divina! Cabri. What care Thou hast of us, o divine goodness! Carmi. Furo, o santa Eroina, Carmi. Your forecasts, saintly heroine, veri i presagi tuoi: gli Assiri oppresse were true: universal slaughter eccidio universal. has overwhelmed the Assyrians. Ozìa. Forse è lusinga Ozìa. This is perhaps del tuo desio. the flattery of your wishes. Carmi. No, del felice evento Carmi. No; I saw part of the happy event;

116 117 parte vid’io; da’ trattenuti il resto the rest I gathered from the fleeing survivors. fuggitivi raccolsi. In su le mura, From above the walls come impose Giuditta al suo ritorno, I raised a joyful noise destai di grida e d’armi of shouts and arms, such as Judith strepitoso tumulto. evoked on her return. Amital. E qui s’intese. Amital. It was heard here. Carmi. Temon le guardie ostili Carmi. The enemy guards d’un assalto notturno, ed Oloferne feared a nocturnal attack, corrono ad avvertirne. Il tronco informe and ran to warn Holofernes. There they found trovan colà nel proprio sangue involto: the shapeless trunk lying in its own blood, tornan gridando indietro. Il caso atroce and turned back, crying aloud. The dreadful deed spargesi fra le schiere, intimorite was noised through the troops, already intimidated già da’ nostri tumulti; ecco ciascuno by our shouts: behold, all rush to flee, precipita alla fuga, e nella fuga and in their flight collide and obstruct each other. l’un l’altro urta, impedisce. Inciampa e cade The fugitives stumble and fall over the fallen; sopra il caduto il fuggitivo: immerge companions in their confusion involuntarily plunge stolido in sen l’involontario acciaro their swords in each other’s breast; al compagno il compagno; opprime oppresso, overwhelmed, a faithful friend, nel sollevar l’amico, il fido amico. lifting his friend, in turn overwhelms him. Orribilmente il campo The camp all around tutto rimbomba intorno. Escon dal chiuso resounds with dreadful noise.

118 119 spaventati i destrieri, e vanno anch’essi From the enclosure the terrified steeds break out, calpestando per l’ombre and in the darkness they too gli estinti, i semivivi. A’ lor nitriti trample on the dead and dying. The wind miste degli empi e le bestemmie e i voti disperses their neighing, mixed with the curses dissipa il vento. Apre alla morte il caso and the vows of the heathens. The event opens up cento insolite vie. Del pari ognuno a hundred unusual ways to death. Everyone alike teme, fugge, perisce; e ognun del pari fears, flees, perishes; and everyone alike ignora in quell’orrore in that horror knows not what he fears, di che teme, ove fugge, e perché muore. whither he flees, or why he perishes. Ozìa. Oh Dio! Sogno o son desto? Ozìa. O heaven! Am I dreaming or awake? Carmi. Odi, o Signor, quel mormorio funesto? Carmi. Dost Thou hear, o Lord, that mournful murmur?

[No. 15] Aria. Carmi [No. 15] Aria. Carmi Quei moti che senti Those sounds you hear per l’orrida notte, in the darkness of the night son queruli accenti, are plaintive accents, son grida interrotte broken cries che desta lontano that insane terror l’insano terror. arouses afar. Per vincere, a noi There remain no enemies non restan nemici; for us to conquer;

120 121 del ferro gli uffici fear completes compisce il timor. the work of the sword.

Recitativo. Recitative. Ozìa. Seguansi, o Carmi, i fuggitivi; e sia Ozìa. Have the fugitives pursued, o Carmi; il più di nostre prede and let most of our spoils premio a Giuditta. be Giuditta’s reward. Amital. O generosa donna, Amital. O generous woman, te sopra ogni altra Iddio may God favour and bless you favorì, benedisse. above all other women. Cabri. In ogni etade Cabri. Your valour will be spoken of del tuo valor si parlerà. in every age. Achior. Tu sei Achior. You are la gioia d’Israele, the exultation of Israel, l’onor del popol tuo … the glory of your people ... Giuditta. Basta. Dovute Giuditta. Enough. Such praises are not due to me. non son tai lodi a me. Dio fu la mente God was the spirit who guided the great blow; che il gran colpo guidò; la mano io fui: I was His hand; i cantici festivi offransi a lui. let the festive hymns be offered to Him.

122 123 [No. 16] Coro [No. 16] Chorus. Coro. Lodi al gran Dio che oppresse Chorus. Praises to great God gli empii nemici suoi, who crushed His heathen enemies, che combatté per noi, who fought for us che trionfò così. and who so triumphed. Giuditta. Venne l’Assiro, e intorno Giuditta. The Assyrian came, con le falangi Perse and with the Persian cohorts le valli ricoperse, covered the valley all around i fiumi inaridì. and damned up the rivers. Parve oscurato il giorno; The daylight seemed obscured; parve con quel crudele it seemed to nervous Israel al timido Israele that its last day had come giunto l’estremo dì. with that cruel man. Coro. Lodi al gran Dio che oppresse Chorus. Praises to great God gli empî nemici suoi, who crushed His heathen enemies, che combatté per noi, who fought for us che trionfò così. and who so triumphed. Giuditta. Fiamme, catene e morte Giuditta. Flames, chains and death ne minacciò feroce: he fiercely threatened: alla terribil voce at his terrible voice Betulia impallidì. Betulia turned pale.

124 125 Ma inaspettata sorte But unexpected fortune l’estinse in un momento, extinguished him in a trice, e come nebbia al vento and all that fury vanished tanto furor sparì. like mist in the wind. Coro. Lodi al gran Dio che oppresse Chorus. Praises to great God gli empî nemici suoi, who crushed His heathen enemies, che combatté per noi, who fought for us che trionfò così. and who so triumphed. Giuditta. Dispersi, abbandonati Giuditta. Scattered and deserted, i barbari fuggiro: the barbarians fled: si spaventò l’Assiro, the Assyrians quaked, il Medo inorridì. the Medes were daunted. Né fur giganti usati Nor were giants employed ad assalir le stelle: to assail the stars: fu donna sola e imbelle it was a lone, unwarlike woman quella che gli atterrì. who filled them with terror. Coro. Lodi al gran Dio che oppresse Chorus. Praises to great God gli empî nemici suoi, who crushed His heathen enemies, che combatté per noi, who fought for us che trionfò così. and who so triumphed. Tutti. Solo di tante squadre All. Let the dead leader alone

126 127 veggasi il duce estinto, of so many squadrons be seen; sciolta è Betulia, ogni nemico è vinto. Betulia is freed, every enemy is conquered. Alma, i nemici rei O soul, the wicked enemies che t’insidian la luce that ensnare your light i vizi son: ma la superbia è il duce. are the vices; but chief of these is pride. Spegnila; e spento in lei Quell it, and with it all its band tutto il seguace stuolo, of followers will be quelled, and you will mieterai mille palme a un colpo solo. gather a thousand palms at a single blow.

128 129 THE L’ORFEO BAROCKORCHESTER EXPRESSES ITS GRATITUDE TO ITS SPONSORS AND PARTNERS:

130 131 Executive producers: Anne de Jong & Marcel van den Broek Recorded at: Stiftskirche Waldhausen (Upper Austria) Recording dates: 6-9 August 2012 Recording producer, engineer: Dietmar Wolf, Hans-Jochen Brauns, Irmgard Bauer (editing) A&R Challenge Records International: Wolfgang Reihing Liner notes: Christian Moritz-Bauer Translation: Carin van Heerden Booklet editing: Marike Hasler Cover photo: wildundleise.de Photo orchestra: Reinhard Winkler Art direction: Marcel van den Broek, newartsint.com www.challengerecords.com / www.lorfeo.com

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