Alessandro Scarlatti (1660-1725)
"La Giuditta", oratorio pour 3 voix et instruments sur un Livret du Cardinal Pietro Ottoboni

Rosita Frisani (Judith), soprano
Marco Lazzàra (Nurse), alto
Mario Nuvoli (Holofernes), ténor
Alessandro Stradella Consort
Estévan Velardi, direction

La belle Judith libère la ville assiégée de Béthulie en séduisant et décapitant le général assyrien Holopherne. Cette histoire biblique a inspiré plusieurs dizaines d'opéras et d'oratorios, les plus célèbres étant Judita triomphans de Vivaldi (1716) et la Betulia liberata d'un Mozart de quinze ans. L'oratorio présent est La Giuditta dite « de Cambridge » où fut conservé le manuscrit (1697) ; le livret est celui du prince Ottoboni et une précédente version, que Scarlatti tenait en haute estime, avait été composée en 1693 à Rome. Il s'agit d'un drame à trois personnages, Judith, soprano, sa nourrice-accompagnatrice, ici alto mais souvent contre-ténor, et Holopherne, ténor. Dans un ordre implacable se succèdent courts récitatifs et arias (ou duos). Les trois chanteurs sont italiens, ce qui explique une diction parfaite, ce qui n'est pas toujours le cas dans d'autres versions avec interprètes français ! Ils sont accompagnés par treize musiciens menés par Estévan Velardi où brille particulièrement le violoncelle d'Antonio Fantinuoli. La musique est souple, franche et fraîche, souvent basée sur des rythmes de danse. Un disque émouvant, sensible et délicieux, à découvrir. (Michel Lagrue)

As Gramophone noted of a recent Brilliant Classics issue, ‘Estévan Velardi and the Alessandro Scarlatti Consort have notched up an impressively broad discography of unjustly neglected Italian Baroque masters.’ This release presents a reissue of a recording made in 1995, the premiere on disc for Giuditta. This is a two-act oratorio composed by Alessandro Scarlatti, who has been the particular focus of Velardi’s work on record, encompassing other treasurable discoveries issued on Brilliant Classics such as the Oratorio per La Santissima Trinità (BC95535), Il dolore di Maria Vergine (BC95534) and San Filippo Neri (BC94037), which was welcomed by Gramophone for ‘Velardi’s admirable zeal, worthy endeavour, natural pacing and the shapely string playing of his band.’ Giuditta is based on the Biblical story of Judith, a beautiful Israelite widow who insinuates herself within the camp of the conquering Assyrian tribe and deceives their general, Holofernes, before decapitating him and carrying off his head in triumph. This is the second version of the oratorio, known as the Cambridge version after the location of the manuscript when it was turned up in modern times. Scarlatti had considered the original version, composed for Rome in 1693, to be his finest oratorio. This is no mean assessment from the composer of masterworks which have been more celebrated in our own time such as La Maddalena, for their expressive pathos and superbly grateful vocal lines. At any rate, Scarlatti conducted a revision of Giuditta four years later, scaling down the forces of the original to three solo voices, strings and continuo: it is this version, incisive and dramatic, which is performed by the Alessandro Stradella Consort.