ANTONIO VIVALDI
Juditha Triumphans
Jordi Savall, La Capella Reial de Catalunya, Le Concert des Nations
29,99€
The oratorio Juditha triumphans marks the climax of Vivaldi’s vocal production. The great beauty of its arias and choral parts, the compact dramatic quality of its recitatives and the richness of instrumentation all single it out as one of the most intense and fascinating examples of the genre. It contributes to securing for Vivaldi so admired for his Concerti and “Seasons”- his rightful place as one of the greatest composers of Baroque vocal music.
Vivaldi’s Juditha triumphans
In 1714, the Republic of Venice was for the seventh time at war with the Turks; and, as the irony of chance would have it, the years of conflict (1714-1718) anticipated those of the First World War two centuries later. At first, the conflict did not favour the Venetians, who had already been defeated in the Peloponnese and in the Aegean, and had suffered a siege on the island of Corfu: more troops would have to be deployed.
But at the beginning of the summer of 1716, Venice managed to change the situation by securing the intervention of the Hapsburg Empire. On 5th August, the daring and brilliant Prince Eugene of Savoy succeeded in overcoming the Ottoman army at Petrovaradin (today one of the two municipalities constituting the city of Novi Sad, Serbia). Finally, a few weeks later, the Venetians were able to rebuff the attack on Corfu, resulting in a severe defeat for the Turks.
+ information in the CD booklet
JORDI SAVALL
Bellaterra, 6 July 2019
Translated by Jacqueline Minett
Critics
”
"Savall concierta todas las partes a su estilo, es decir, imprimiendo un ritmo de extraordinario dramatismo, que consigue mediante crudos contrastes de tempo y dinámicas y permitiendo a su estupendo elenco de cantantes ornamentar con absoluta libertad. Orquesta y coro brillan con un sonido empastad de gran riqueza de matices."
Diario de Sevilla
”
"Jordi Savall, potendo contare su una delle orchestre barocche più duttili e sensibili, ha lavorato molto sulla parte concertante mettendo in evidenza timbri diversi e a volte di raro utilizzo (ad esempio il salmoé, precursore del clarinetto), dosando alla perfezione i volumi tra voce e strumenti, come quando le arie sono accompagnate da un consort di viole, così da non creare coperture e sovrapposizioni, sostenendo le linee del canto con i sublimi tappeti sonori ideati da Vivaldi. Sceglie tempi giusti e distesi, che permettono di apprezzare il respiro dell’orchestra pur mantenendo vivo l’incalzare degli eventi, preparando con senso del teatro le grandi scene e gli interventi del coro. "
OperaClick, Daniela Goldoni
Share