Music by Antonio Vivaldi

Libretto by Giacomo Cassetti

Sally-Anne Russell Juditha, a widow from Bethulia

David Walker Holofernes, general of the Assyrian army
Sara Macliver Abra, Juditha’s companion
Fiona Campbell Vagaus, Holofernes’ aide
Renae Martin Ozias, spiritual leader of Bethulia
Cantillation Chorus (people of Bethulia,
Assyrian soldiers, spirits)
Orchestra of the Antipodes

Attilio Cremonesi Conductor

Mark Gaal Director
Hamish Peters Designer
Bernie Tan-Hayes Lighting Designer
Benjamin Bayl Assistant Conductor
Sean Hall Assistant Director

5, 8, 9 and 10 December 2007

City Recital Hall Angel Place

There will be one interval of 20 minutes at the conclusion

of Part One.

The performance will finish at approximately 10pm on

Wednesday, Saturday and Monday, and 8pm on Sunday.

Juditha Triumphans was commissioned by and first performed

at the Ospedale della Pietà in Venice in November 1716.

Juditha Triumphans is being recorded live for CD release by

ABC Classics, and is being broadcast live on ABC Classic FM
on Monday 10 December. Any microphones you observe in the
Hall are solely for the purposes of recording.

Major Sponsor

Sponsors
Attilio Cremonesi CONDUCTOR Sally-Anne Russell JUDITHA
Attilio Cremonesi studied at the Conservatorio Nicolini in Piacenza Sally-Anne Russell has performed in the US, the Netherlands, Austria,
and at the Schola Cantorum in Basel. Winner of several international the UK, Italy, Germany, New Zealand, Japan and Canada. She has
competitions, he worked for many years as musical assistant to René sung over 40 operatic roles, most recently to great critical acclaim
Jacobs in opera and oratorio productions, and accompanied him in the role of Isabella (The Italian Girl in Algiers) for Melbourne Opera,
recitals. In addition to his activity as harpsichordist and fortepiano Jo (Australian premiere of Little Women) for the State Opera of South
soloist, he has dedicated himself to the discovery and performance of Australia, and for Opera Australia, Bradamante (Alcina), Sesto (Julius
rare Baroque and Classical operas. He has also appeared in the Caesar) and Cherubino (The Marriage of Figaro), for which she was
major concert halls and festivals of Europe and South America with nominated for a Green Room Award.
Ensemble Arcadia, which he founded in 1990.
Sally-Anne sings for the Sydney, Melbourne, West Australian,
Attilio has conducted operas and concerts in Basel, Berlin, Adelaide and Tasmanian Symphony Orchestras, The Queensland
Braunschweig, Innsbruck, Lausanne, Lucerne and at festivals in Brazil Orchestra, Australian Chamber Orchestra, Orchestra Victoria, Seoul
(Curitiba), Morocco (Fez) and Germany (Lörrach). Performance National Symphony Orchestra and Canada’s Victoria Symphony. She
highlights have included conducting Handel’s Rodelinda at Den is a member of the International Jury for the Kathaumixw Festival in
Norske Opera in Oslo, Rameau’s Dardanus for Bonn Opera and Canada and for the Belvedere International Singing Competition.
Sartorio’s Julius Caesar in Egypt at the Innsbruck Early Music Festival,
and working with choreographer Joachim Schlömer on the award- She can be heard on over 30 CDs, including Brahms’ Liebeslieder
winning dance collaboration Les Larmes du ciel (The Tears of Heaven) Waltzes (Move Records), Prokofiev’s The Love for Three Oranges
at the Vienna Festival. (Chandos) and The No. 1 Classical Album (Decca). Her ABC Classics
releases include Baroque Duets, featuring Pergolesi’s Stabat mater
Recent engagements have included Rossini’s The Silken Ladder on
(2005 ABC Classic FM Listener’s Choice), the ARIA-nominated Bach
tour with the Freiburg Baroque Orchestra; an anthology of Da Ponte
Arias and Duets, The Classic 100 Opera Gala Concert, and a solo disc
arias entitled L’ape musicale at Festival Pergolesi–Spontini in Jesi;
of operatic arias, Enchanting, with the Adelaide Symphony Orchestra.
Pergolesi’s Marian Vespers with the Vocal Consort of Berlin and
Sally-Anne is also featured on two DVDs with Opera Australia: the
Paisiello’s La serva padrona with Baroque orchestra La Cetra at the
50th Anniversary Gala Concert, and the Golden Jubilee DVD.
Théâtre de Poissy; Monteverdi’s Il ritorno di Ulisse in patria and The
Coronation of Poppea (Grand Théâtre de Génève); The Abduction Forthcoming engagements include Suzuki (Madama Butterfly) for Opera
from the Seraglio in Basel and Lucerne; and Purcell’s Dido and Australia, Nicklausse / The Muse (The Tales of Hoffmann), concerts for
Aeneas in a co-production between the opera houses of Luxembourg, Musica Viva and the Melbourne and Sydney Symphony Orchestras,
Montpellier, Amsterdam, Ferrara, St Pölten and Berlin (Unter den and a seventh season for the Carmel Bach Festival in California.
Linden), featuring the Akademie für Alte Musik Berlin.
For Pinchgut Opera Sally-Anne has appeared in Semele (Ino / Juno)
Attilio’s extensive discography has attracted much popular and and The Fairy Queen, both available on CD from ABC Classics.
critical acclaim, including the German Record Critics Award, Choc
de la Musique, Diapason d’Or and Belgium’s Cecilia Prize.

Mark Gaal DIRECTOR David Walker HOLOFERNES

Mark Gaal has directed productions for leading arts organisations David Walker is a regular guest at many of the world’s leading opera
including Opera Australia, Company B Belvoir and the Sydney companies, including the Metropolitan Opera, New York City Opera,
Theatre Company. He was for three years Artistic Director of the Glimmerglass Opera, Washington National Opera, Florida Grand
Australian Theatre for Young People (atyp), and he has worked in Opera, Boston Lyric Opera, Opera Theatre of Saint Louis, the opera
commercial theatre and at the National Institute of Dramatic Art companies of Los Angeles, San Diego, Santa Fe, Minnesota, Arizona,
(NIDA) with both the full-time and short course programs. Utah and Central City, Bavarian State Opera, Opéra National du Rhin
in Strasbourg, and English National Opera and Opera North in the
A graduate of the University of Queensland and NIDA, Mark has
UK. He also appears regularly at the Boston Early Music Festival,
directed productions for the Sydney Theatre Company (The Trackers
Göttingen Handel Festival and the Adelaide Festival.
of Oxyrhynchus and The Bitter Tears of Petra von Kant), atyp (The
Tempest, The Caucasian Chalk Circle, Spring Awakening, Romeo and David has a vast repertoire ranging from Monteverdi, Handel and
Juliet and All Stops Out, which toured internationally) and Company Gluck to Ligeti, Britten and Petitgirard. He is foremost a Handel
B Belvoir (Drums of Thunder and Cockroach Opera, a co-production specialist, having performed the title roles in Julius Caesar, Flavio
with the Aboriginal and Islander Dance Theatre). and Radamisto, Ottone (Agrippina), Arsamene (Xerxes), Bertarido
(Rodelinda), Athamas (Semele), Arsace (Partenope), Medoro (Orlando),
For Opera Australia, Mark directed the Australian premiere of Alban
Polinesso (Ariodante) and Goffredo (Rinaldo). He has also sung such
Berg’s 20th-century masterpiece Lulu. For the Really Useful Theatre
various roles as Nero in The Coronation of Poppea, Orfeo in Gluck’s
Company, Mark was responsible for the German and Australian
Orfeo ed Euridice, Oberon in Britten’s A Midsummer Night’s Dream,
premieres of the musical Sunset Boulevard. He directed Nathan,
Prince Go-Go in Ligeti’s Le Grand Macabre and the title roles in Philip
Kelly, Tim, Kathleen and Charli from TV’s Hi-5 in Come On and
Glass’ Akhnaten and Petitgerard’s The Elephant Man.
Party, which toured nationally and to Malaysia, Singapore and New
Zealand, and in Hi-5 Alive, which toured to the UK. In concert, David has appeared with the National Symphony
Orchestra in Washington DC, the BBC Symphony, Washington
His productions at NIDA have included As You Like It and The
Concert Opera, St Petersburg’s Kaliningrad Symphony Orchestra, the
Treatment with full-time students and Macbeth with part-time students.
Academy of Ancient Music, Richmond Symphony, Boston Baroque,
Earlier this year Mark directed NIDA graduates in a program of
Boston’s Haydn and Handel Society, New York Collegium, Columbus
Aeschylus and Shakespeare for presentation at the UNESCO/
Symphony, and the Orlando Philharmonic. Representative orchestral
International Theatre Institute conference and at the Busteni
repertoire includes Handel’s Messiah, Pergolesi’s Stabat mater, Orff’s
International Theatre Festival in Romania.
Carmina burana, Bach’s Mass in B minor, Carissimi’s Jephte,
Mark has worked previously with Pinchgut Opera, in 2004, when he Mozart’s Coronation Mass and Scarlatti’s Salve Regina.
directed L’Orfeo.
David was the winner of the 1998 Metropolitan Opera National
Council Auditions, the 1998 Sullivan Foundation Award and a US
ARIA (Award Recognizing Individual Artistry) in 1999. He was
nominated for a Helpmann Award for his performance as The
Refugee in Dove’s Flight.
Sara Macliver ABRA Renae Martin OZIAS
Sara Macliver trained in Perth, where she was a pupil of the Renae Martin began voice studies at the West Australian
renowned soprano Molly McGurk. She is a regular performer with Conservatorium of Music and completed a Bachelor of Music degree
the Melbourne, Sydney, Adelaide, Tasmanian and West Australian in 1999 at the University of Western Australia. She holds a Graduate
Symphony Orchestras and The Queensland Orchestra, as well as the Diploma of Opera from the Sydney Conservatorium of Music and has
Perth, Melbourne and Sydney Festivals, Musica Viva, Australian been a finalist in Opera Foundation Australia’s New York Study
Chamber Orchestra, Australian Bach Ensemble, Australian Award and German Operatic Award, and in the Operatic Aria
Brandenburg Orchestra, Melbourne Chorale and Sydney competition of the McDonald’s Performing Arts Challenge, as well as
Philharmonia Choirs among others. the finals of Germany’s Neue Stimmen Vocal Competition.

Career highlights have included a performance in the presence of She has appeared as Dorabella in Così fan tutte, Popova in The
Diana, Princess of Wales, a recital concert in Japan, a five-city tour Bear, Annio in La clemenza di Tito, Ruggiero in Alcina, Isaura in
of Italy with Ola Rudner and the Haydn Orchestra, Mahler’s Tancredi, Zerlina in Don Giovanni and Hansel in Hansel und Gretel.
Symphony No. 4 with Edo de Waart and the Sydney Symphony, a Other performance credits include Schubert’s Mass in C, Bach’s
program based on the life of Jane Austen, with pianist Bernadette Magnificat and Wedding Cantata, Purcell’s King Arthur, Haydn’s
Balkus, for Musica Viva, and Pinchgut Opera’s productions of Nelson Mass, Handel’s Messiah and Mozart’s Mass in C minor.
Monteverdi’s L’Orfeo and Purcell’s The Fairy Queen.
Renae has taken part in many recital series, performing with chamber
Sara records for ABC Classics. Her albums include Fauré’s Requiem ensembles as well as giving numerous solo recitals, and has recorded
and Birth of Venus, Orff’s Carmina burana and Haydn arias with the two broadcast recitals for ABC Classic FM.
Tasmanian Symphony Orchestra and Ola Rudner. In 2002 she
In 2006 Renae performed the title role of L’Enfant in Ravel’s L’Enfant
completed a recording of Handel’s Messiah for CD and DVD. This
et les Sortilèges and appeared as the mezzo-soprano soloist in
has been screened several times on national television. Recent
Beethoven’s Ninth Symphony with the Melbourne Symphony
releases include the award-winning Bach Arias and Duets and
Orchestra under Oleg Caetani, as well as singing with
Baroque Duets (featuring the Pergolesi Stabat mater) with mezzo-
Glyndebourne Festival Opera in the UK. This year’s engagements
soprano Sally-Anne Russell, Songs of the Auvergne with The
have included further performances with the Melbourne Symphony
Queensland Orchestra, and a disc of Mozart arias with the
Orchestra, the role of Annio in La clemenza di Tito with Graz State
Tasmanian Symphony Orchestra, recently announced as the winner of
Opera and a concert of Grieg orchestral songs with the Graz
Limelight magazine’s award for Best Classical Music Recording.
Philharmonic Orchestra.
This year Sara has appeared as Echo / Aphrodite in the premiere of
Richard Mills’ new opera The Love of the Nightingale for the Perth
Festival, and in concerts and recordings with the Tasmanian
Symphony Orchestra, amongst many other engagements.

Fiona Campbell VAGAUS Benjamin Bayl ASSISTANT CONDUCTOR

Fiona Campbell has appeared in concert with the Prague Chamber Benjamin Bayl is the Assistant Artistic Director to Paul McCreesh and
Orchestra, Hong Kong and Odessa Philharmonic Orchestras, the Gabrieli Consort, Assistant Conductor to Iván Fischer and the
Manchester Camerata, West Australian and Melbourne Symphony Budapest Festival Orchestra, and Artistic Director of Saraband
Orchestras and the Orchestra of the Royal Opera House, Covent Consort and Orchestra of the City. Born in Sydney, he was the first
Garden. In 1994 she was the winner of the Vocal division of the Australian Organ Scholar of King’s College Cambridge, and then
ABC Young Performers Awards; the following year, she won the studied at the Schola Cantorum Basel, London’s National Opera
Opera Awards in the Australian Singing Competition. Studio, and, with the assistance of a Sir Charles Mackerras
Conducting Scholarship, at the Royal Academy of Music.
Her opera engagements in the UK have included Amor / Melanto (Il
ritorno d’Ulisse in patria) for Opera North, Sophie Lavalle (Zoë) for Recent conducting engagements include Hita’s Briseida (Santiago de
Glyndebourne, Olga (Eugene Onegin) for Grange Park Opera, Compostela Festival), Haydn’s Il mondo della luna (Iford Opera),
Hansel (Hansel and Gretel) for Opera Northern Ireland, and Handel’s Brockes Passion (Wratislavia Festival, Poland) and concerts
Dorabella (Così fan tutte), Siebel (Faust) and Rosina (The Barber of with The King’s Consort, Guildford Philharmonic and the European
Seville) for Mid-Wales Opera. Since returning to Australia, Fiona has Union Baroque Orchestra. He has conducted performances of
appeared frequently with West Australian Opera; she made her The Little Magic Flute (Opera North), Britten’s A Midsummer Night’s
Opera Australia debut in 2006 as Tessa in The Gondoliers. She also Dream (British Youth Opera) and Rossini’s The Silken Ladder
holds a Master of Music degree and is a lecturer in voice at the (Guildhall). With Orchestra of the City, he gave the European
University of Western Australia. premiere of John Tavener’s Lament for Jerusalem. He has been
Chorusmaster of Opera Holland Park, and regularly joins the music
Career highlights have included the roles of Venus (Tannhäuser) and
staff of Royal Opera Covent Garden.
Ruggiero (Alcina), the Australian premiere of works by John Tavener,
and Bach’s St Matthew Passion, all for the Perth International Arts Benjamin has assisted Richard Hickox (Julius Caesar, Opera Australia),
Festival, and the world premiere of Jaz Coleman’s The Marriage at Harry Bicket (Ariodante, The Fairy Queen), Harry Christophers
Cana, with soloists of the Royal Opera House. (Semele, Hercules, Mozart’s Ascanio in Alba), Laurence Cummings
(King Arthur, Aldeburgh Festival), Paul McCreesh (Creation, National
Recent engagements have included John Adams’ El Nino and Bach’s
Orchestra of Spain), Christian Curnyn (Saul, Opera North) and
St John and St Matthew Passions, all with Sydney Philharmonia
Masaaki Suzuki (Bach’s B Minor Mass). He performs on continuo with
Choirs, Mozart’s Requiem (Adelaide Symphony Orchestra), Mozart’s
the Monteverdi Choir, the Gabrieli Consort, The King’s Consort, The
C minor Mass (Australian Chamber Orchestra), concerts with the
Sixteen, Ex Cathedra, BBC Singers, Polyphony, Royal Philharmonic
Australian Brandenburg Orchestra, the world premiere of Richard
Orchestra and London Symphony Orchestra.
Mills’ opera The Love of the Nightingale, and a recording of early
French cantatas with Ensemble Battistin for ABC Classics. Future conducting engagements include Orlando (Opera Australia,
Melbourne), Alcina (Copenhagen), Handel cantatas with Rosemary
Fiona appeared as Idamante in Pinchgut Opera’s production of
Joshua and the Gabrieli Consort and a Hindemith recording with the
Idomeneo in 2006.
Britten Sinfonia. He will also assist Paul McCreesh (Tamerlano with
Placido Domingo), Ivor Bolton (Jephtha) and Trevor Pinnock on Opera
Australia’s Sydney season of Orlando.
Hamish Peters DESIGNER Andrew Johnston PRODUCTION MANAGER
Hamish Peters is a graduate of the Bachelor of Design program at Andrew Johnston has been with Pinchgut Opera since the beginning:
NIDA. His work for the theatre includes Derrida in Love (Ensemble he was Production Assistant on Semele and The Fairy Queen and
Theatre), Brilliant Monkey (Pork Chop Productions), Terrorism (square Production Manager for L’Orfeo, Dardanus and Idomeneo.
the circle/Darlinghurst Theatre Company); Roméo et Juliette (Opera
Originally trained as an actor at the Bristol Old Vic Theatre School,
Australia/Opera Queensland), Lawrence and Holloman (Darlinghurst
Andrew has worked in and around the arts in many guises: as an
Theatre), Don Juan, Fragments and Le Mariage forcé (Bread and
actor, script supervisor for television, script assessor, score reader
Butter Theatre); Sleeping Around (Ride On), Box and Quotations from
and in numerous arts administration roles. He has also been a
Chairman Mao Tse-Tung, The Women of Lockerbie and Mother Teresa
member of The Contemporary Singers.
Is Dead (Cumulus Productions), How Much Is Your Iron (Department
of Education); Loveplay (Ride-On/B Sharp) and Beatrice (atyp).

Film and television credits include Kings Caravan (Myacamus Films)

and Wishing You Were Here and Cake with director Briony Dunn.
Hamish was Art Director of the 2007 Nickelodeon Kids’
Choice Awards.

While at NIDA, Hamish designed costumes for The Duchess of Malfi

and sets for Country Music by Nick Enright, the inaugural production
in the New Parade Theatre.

Hamish is currently designing Cinderella for OzOpera Schools

Company. In 2008 he travels to the UK to assist designer Niki Turner
on The Rake’s Progress for Garsington Opera. Maree Kanowski STAGE MANAGER
Hamish was the Designer for Pinchgut Opera’s productions of Maree Kanowski graduated from the University of Southern
Dardanus and Idomeneo, and Assistant Costume Designer for Semele Queensland with a Bachelor of Theatre Arts (Stage Management)
and The Fairy Queen. degree, and was also the recipient of the USQ Creative Arts Award
for Theatre. Since graduation, she has worked as Stage Manager
with many theatre, dance, opera and event companies around
Bernie Tan-Hayes LIGHTING DESIGNER Australia and the USA, including Opera Australia, Melbourne
Theatre Company, Queensland Ballet, The Joffrey Ballet in Chicago,
Bernie Tan-Hayes’ opera and musical credits include Così fan tutte State Opera of South Australia, Sydney Opera House, Queensland
(Pacific Opera), Dialogues of the Carmelites and The Pirates of Performing Arts Centre, the Melbourne and Adelaide Festivals, Hit
Penzance (Sydney Conservatorium of Music), Bob Cats Dancing, Bob Productions, La Boite Theatre Company, Q Theatre and the
Cat Magic and Charters Towers – The Musical (Queensland Music Queensland Conservatorium of Music.
Festival), Mr BBQ (NORPA), Dreaming Transportation (Performing
Lines) and, for Pinchgut Opera, Semele, The Fairy Queen, L’Orfeo,
Dardanus and Idomeneo.

His drama and dance credits include Gondwana (Erth Visual and
Physical), Macbeth (Sydney Theatre Company), Drill and Special
Mention (Stompin Youth Dance Company), The Admiral’s Odyssey
(Action Theatre, Singapore), Amigos (La Boite, Queensland), The
Flood and The Seed (NORPA), Story Time and Write Now 2001
(Naked Theatre Company), Knives in Hens (B Sharp), October, King
Tide and Borderlines (Griffin Theatre Company), Angel City, Mary
Stuart and Freak Winds (Tamarama Rock Surfers), Hamlet (Pork Chop
Dick Weight PROPS MASTER/ARTIST
Productions), and Derrida in Love, A Couple of Blaguards and Are Dick Weight is an established visual artist whose recent accolades
You There (Ensemble Theatre Company). include Blake Prize Exceptions selection and finalist in the Norville
Art Prize. He is currently completing a five-year sculpture commission
In association with Nick Schlieper, Bernie has worked on the Ring
for the Royal Australian Artillery National Museum North Fort, Manly.
Cycle and Parsifal for State Opera of South Australia, Two Brothers,
Great Expectations, Inheritance and The Visit (Melbourne Theatre Head of Props with the Sydney Theatre Company from 1997 to
Company), The Bourgeois Gentleman and School for Scandal (STC) 2001, his many opera and theatre credits include Props Master for
and Twinkle Twinkle Little Fish (Windmill Performing Arts). He has Mourning Becomes Electra and Macbeth (Sydney Theatre Company)
toured and re-lit I Am My Own Wife (MTC) and Ying Tong, Doubt, and Henry the Fifth (Bell Shakespeare Company, Sydney Opera
Copenhagen, Stones in His Pockets and The Christian Brothers (STC). House), and Construction Manager for West Side Story (Her
Majesty’s Theatre). His extensive film credits include SFX Props
Master for Oscar and Lucinda, Head of Model Shop for The Thin

Sean Hall ASSISTANT DIRECTOR Red Line and Mad Max 3, and, most recently, SFX Props Master
for Superman Returns.
Sean Hall is a graduate of NIDA. He has performed in theatre and
Dick was Props Master on three previous Pinchgut Opera
film and is a tutor with the NIDA Open Program. Sean spent five
productions: L’Orfeo, Dardanus and Idomeneo.
years living and working in Prague, where his band Astro Metro
performed with Tool, Mark Knopfler and Ozzy Osbourne and
recorded with the Prague Symphony Orchestra.

Sean’s film credits include roles in The Illusionist and The Road from
Coorain; his television credits include Lockout and Shittland. In the
theatre, Sean has appeared in the NIDA productions Romeo and
Juliet, The Three Sisters, The Beaux Strategem, Pains of Youth and
There Is No Need to Wake Up, devised for the Olympic Arts Festival
in 2000. For the Sydney Theatre Company, Sean has performed in
Nick Enright’s Chasing the Dragon workshop.

Sean has recently returned from Romania where he performed at the

UNESCO/International Theatre Institute conference and the Busteni
International Theatre Festival. He is currently fronting the indie soul
band Parasol.
Cantillation Orchestra of the Antipodes

ORCHESTRA PIC T/C

Antony Walker Music Director

Alison Johnston Manager

Cantillation is a chorus of professional singers – an ensemble of fine voices with the speed, agility
and flexibility of a chamber orchestra. Formed in 2001 by Antony Walker and Alison Johnston, it has Antony Walker Music Director
since been busy in the concert hall, opera theatre and the recording studio.
Alison Johnston Manager
Performances have included John Adams’ Harmonium and On the Transmigration of Souls, Ross
Edwards’ Symphony No. 4 Star Chant, Haydn’s Nelson Mass and Jonathan Mills’ Sandakan Initially formed as the Baroque arm of Sinfonia Australis, Orchestra of the Antipodes has rapidly
Threnody (all with the Sydney Symphony), concerts with Andrea Bocelli, tours to regional centres developed a thriving life of its own. Formed of some of Australia’s best early music players including Erin
around NSW (part of Musica Viva’s CountryWide program), and performances with Emma Kirkby in Helyard, Neal Peres Da Costa, Daniel Yeadon and Anna McDonald, the ensemble takes its place
Sydney and Melbourne, also for Musica Viva. amongst fine period-instrument ensembles.

Recordings for ABC Classics include great choral masterpieces of the Renaissance, a collection of Its debut CD, Handel’s Messiah (also released on DVD), has drawn widespread critical acclaim, and a
contemplative 20th-century sacred works entitled Prayer for Peace, Fauré’s Requiem, Orff’s Carmina subsequent disc of Bach Arias and Duets with Sara Macliver and Sally-Anne Russell quickly became a
burana, Handel’s Messiah and a Christmas disc, Silent Night. Most recently released are a disc of best-seller, and was nominated for an ARIA Award in 2004. The Orchestra’s most recent releases are
folk songs called Ye Banks and Braes, Magnificat with Emma Kirkby and an album of Baroque Pinchgut Opera’s performance of Mozart’s Idomeneo, a CD of Baroque Duets featuring the Pergolesi
choruses, Hallelujah!. Stabat mater (winner of the inaugural ABC Classic FM Listener’s Choice Award in 2005), Magnificat
with Emma Kirkby, and a disc of Baroque choruses performed with Cantillation, Hallelujah!. A recording
As well as appearing in all of Pinchgut Opera’s productions to date, Cantillation has sung for the of the complete Brandenburg Concertos is scheduled for release on ABC Classics in 2008.
Dalai Lama, recorded all the national anthems for the 2003 Rugby World Cup (and performed at the
opening ceremony) and recorded soundtracks for several movies, including Christopher Gordon’s Recent projects have included the Australian premiere of Rameau’s Dardanus and Mozart’s Idomeneo for
Emmy-nominated score for Salem’s Lot. Recent engagements have included concerts with the Sydney Pinchgut Opera, concerts at the Art Gallery of NSW, and recordings of Mozart’s Requiem on Classical
Symphony – Daphnis and Chloe, The Shock of the New and Rachmaninoff’s The Bells, with Vladimir instruments, and Bach arias with baritone Teddy Tahu Rhodes. In 2008 the orchestra will be recording
Ashkenazy – and numerous recording projects: music for the Commonwealth Games, Mozart’s the Michael Haydn Requiem.
Requiem for ABC Classics and the film score for The December Boys.
Violin 1 Cello Chalumeau
In 2007 Cantillation performed Brahms’ German Requiem and Vaughan Williams’ Sinfonia Antartica
Anna McDonald* Daniel Yeadon Craig Hill
and appeared in Symphony at the Movies and Play! A Video Symphony, all with the Sydney Simon Brown, Sydney, Australia, 2006, Michael Watson, England, 1991, Soprano chalumeau by Brian Ackerman,
Symphony, as well as recording and filming Jonathan Mills’ opera The Eternity Man, and recording after Guarnerius after Guarnerius Hove, UK, 1995, after various originals
several CDs. Bassoon
Julia Fredersdorff Anthea Cottee
In 2008 Cantillation will perform the complete ballet music of Ravel’s Daphnis and Chloe, give the Anonymous, Mittenwald, Germany, early Peter Walmsley, London, England, 1735 Simon Rickard
18th century Four-key bassoon by Mathew Dart, London,
Australian premiere of Gelmetti’s Cantata della Vita, and record for CD release the Michael Haydn Jamie Hey England, 1995, after J.C. Denner, c.1690
Requiem and a program of choral transcriptions of instrumental works. Dominic Glynn Italian (Brescian school), early 17th century
Simon Brown, Sydney, Australia, 2005, Lisa Goldberg
after Guarnerius Double Bass Four-key bassoon by Mathew Dart, London,
Sopranos Tenors England, 2000, after J.C. Denner, c.1690
Kirsty McCahon
Elizabeth Pogson
Anna Fraser* Philip Chu Anonymous, after Sebastian Klotz
Giuseppe Abbati, Modena, Italy, c.1750 Trumpet
Sarah Jones Andrei Laptev* Recorder Leanne Sullivan
Belinda Montgomery** John Pitman Violin 2 Rainer Egger, Basel, Switzerland, bell after
Owen Watkins Johann Leonhard Ehe II (1664-1724),
Alison Morgan Dan Walker Alice Evans Alto recorder by Friedrich von Huene, Nuremburg, Germany
Sebastian Klotz, Mittenwald, Germany, Boston, 1984, after Jacob Denner, 1720
Josie Ryan** c.1750 Helen Gill
Matthew Ridley Rainer Egger, Basel, Switzerland, bell after
Matthew Bruce Johann Leonhard Ehe II (1664-1724),
Mezzo-sopranos Basses Mark Pengilly, Melbourne, Australia, 1986,
Alto recorder by Michael Grinter, Chewton,
Australia, 1996, after P.I. Bressan, London, Nuremburg, Germany
Anne Farrell Daniel Beer after Giovanni Paolo Maggini England, c.1700
Judy Herskovits Corin Bone* Percussion
Matthew Greco Oboe
Natalie Shea* Craig Everingham David Christian Hopf, Quittenbach, 1760
Brian Nixon
Kirsten Barry Lefima German Baroque-styled belt-driven
Helen Sherman Ashley Giles calf-headed copper timpani, built in 1999
Viola d’amore Toshi Hasegawa, 1995, after Jacob Denner,
Nicole Thomson David Greco Nuremberg, Germany, c.1710 Tenor drum, 14“ x 10“, copy of a French
Alice Evans provincial drum, 1996
Umberto Lanaro, Padua, 1979, copied Owen Watkins
from a privately owned instrument
Olivier Cottet, 1988, after Christian
Viola da Gamba
* Quartet – ‘O quam vaga’ Used with the kind permission of
Schlegel, Basel, early 18th century Miriam Morris
** Duet – ‘Mundi rector’ Catherine Shugg Treble viol by Dietrich Kessler,
Clarinet** England, 1981
Viola Bass viol by Ian Watchorn, Melbourne,
Craig Hill
Nicole Forsyth Three-keyed clarinet by Daniel Deitch for Australia, 1997, after Romain Cheron
Tenor viola by Ian Clarke, Biddeston, Pinchgut Opera, San Francisco, 2007,
Australia, 1998, after Giovanni Paolo Laura Vaughan
after J.C. Denner, c.1690 Treble viol by Harold Evans,
Maggini, ‘Dumas’, c.1680
Australia, 1982
Owen Watkins
John Ma Three-keyed clarinet by Daniel Deitch for Anthea Cottee
Simon Brown, Sydney, Australia, 2000 Pinchgut Opera, San Francisco, 2007, Bass viol by Gary Bridgewood, London,
after J.C. Denner, c.1690 England, 1987
Orchestra of the Antipodes A guide to the instruments
Viola da Gamba continued Mandolin Tuning a’= 415 Vivaldi used an extraordinary range of instruments in Juditha Triumphans, some very
Daniel Yeadon Tommie Andersson Temperament = Valotti familiar, others less so. Here’s a quick précis of some of the more unusual ones.
Bass viol by Petr Vavrous, Prague, Czech Luca Centrone/Liuteria d’insieme, Milan,
Republic, 2002, after Bertrand, c.1720 Italy, 2007 after Francesco Presbler,
* Anna McDonald’s performances
Milan, 1759 are sponsored by Grosvenor Chalumeau
Theorbo Financial Services.
Harpsichord The chalumeau is a forerunner of the clarinet. It looks a bit like a recorder, with a
Deborah Fox
Michael Schreiner, Toronto, Canada, Attilio Cremonesi ** The commissioning of the Denner separate section (‘foot joint’) at the bottom, and the middle section basically a
2000, after Keiser, 1611 Carey Beebe, Sydney, 2002, after clarinets was made possible by straight cylinder, but the top of the instrument is quite different: the chalumeau has a
Giovanni Natale Bocalari, Naples, 1697 donations from: ‘reed’ (actually, a piece of cane) attached to the mouthpiece and the sound is
Samantha Cohen Supplied by Carey Beebe Harpsichords
Klaus Jacobsen, London, 1999 after Australia Gillian Appleton produced by blowing across the reed to make it vibrate. The chalumeau has a
Italian models Sandra & Neil Burns limited range of a bit more than octave, and has a mellow rich sound. There are four
Benjamin Bayl Mrs W.G. Keighley
James Holland Carey Beebe, Sydney, 1995, after Carlo
different sizes – soprano, alto, tenor and bass. The word ‘chalumeau’ comes from the
Peter Biffin, Armidale, Australia, 1981, Grimaldi, Nuremberg, 1697 §
The chamber organ is a Greek meaning ‘reed’. You can hear the chalumeau in the aria ‘Veni, veni’.
after 17th-century models Courtesy Doug Brooke
co-purchase of Pinchgut Opera,
Archlute Chamber Organ § Cantillation, ABC Classics and ABC Baroque Clarinet
Tommie Andersson Classic FM.
Neal Peres Da Costa The clarinet evolved from the chalumeau in about 1710, although the chalumeau
Klaus Toft Jacobsen, Chiavenna, Italy, Henk Klop, Garderen,
All keyboards prepared by continued to develop alongside the clarinet for some decades. The clarinet’s
2001, after Magno Dieffopruchar, The Netherlands, 2007
Venice, c.1600 Carey Beebe. mouthpiece was modified to improve its top notes, and the straight foot joint was
replaced with a flared ‘bell’ (called that because of its shape). A key was also added
so that the player could get an additional set of notes (called the upper register)
above the original (or fundamental) notes. Because of their construction it was
Pinchgut Opera Ltd difficult to get both the top and bottom registers in tune, and Baroque clarinets were
often played in their bright upper register which sounds a bit like a trumpet. You can
hear them in the chorus ‘Plena nectare’.
Pinchgut happened accidentally. It grew out of a conversation in 2001 about whether there was
a different way of presenting opera. Antony Walker, Erin Helyard, Anna McDonald, Anna Viola da Gamba (often called viols or gambas)
Cerneaz and Alison Johnston, encouraged by Liz and Ken Nielsen, decided to set up a different The viol family existed side by side with the violin family from the late 15th century to
kind of opera company. the mid-18th century. Viols differ from violins in a number of ways – they usually
We had no strategy plan nor even a business plan. Just some ideas of what we wanted to have six strings (instead of four); their ribs (the sides of the instrument) are deeper;
they are always played vertically, unlike some of the violin family which were initially
achieve and a belief that we knew some people who could help us do it.
rested horizontally against the arm, and were later tucked under the chin; and they
We thought that we could give audiences a more intimate experience of opera. Bring the have tied-on frets, like a guitar. The bow is also held differently – with the player’s
orchestra out from the pit to where it can be seen. In some of the early discussions we thought of hand underneath the hair rather than on top of the wood. They have a darker, more
putting the orchestra on stage and perhaps one day we will. We would present the show in a introverted sound than the violin family. There are four sizes of viols – soprano
smaller space with a very good acoustic. Make the music the main element of the production, (treble), alto, tenor and bass. You can hear the consort of gambas in ‘Summe
Astrorum’, followed by the extraordinary aria ‘In somno profundo’.
with the set, costumes and the rest there to support the music, not to swamp or overshadow it.
Present works that are not well known, but ought to be. (We did not intend Pinchgut to become a Viola d’Amore
Baroque or Classical company – it was just that there are so many great works from those eras
The viola d’amore is roughly the same size as a modern viola, and has the same
and we had some musicians who could do those works very well. Perhaps some day we will
curved outline, but it has a flat back, like the viol family. Its main feature, though, is
take the Pinchgut approach to music of the 20th or 21st century.) We knew that there is a large
that it has two sets of strings: seven strings that are played on, and another seven
number of Australian musicians – singers and players – living overseas. We wanted to give
which lie below these and vibrate in sympathy with them. The name means ‘viola of
Australian audiences the chance to see and hear them. We thought that we could build a love’ and the instruments often feature a carved cupid’s head at the end of the
different financial model for an opera company – keep administration and marketing costs to a pegbox (‘pegs’ being the wooden pins to which the strings are attached, and which
minimum, using technology such as the internet, and spend most of our money on artistic matters. the player turns to tune the instrument); the strings lying near each other and
We aimed to make box office our major source of funds, supported by private donations and trembling one for another was also seen as a metaphor for love. The viola d’amore
sponsorship. We realised there was little chance of major government funding. And we wanted has a particularly sweet and warm sound and was very popular in the Baroque but
everything we did to be fun: for everyone involved to enjoy themselves. We believed that this later fell out of use as the power and brilliance of the violin family took over. The
would show through to the audience and produce a great experience for all. viola d’amore is featured in the aria ‘Quanto magis generosa’.

Pinchgut began in 2002 with a production of Handel’s Semele. This was followed by Purcell’s Theorbo
The Fairy Queen (2003), Monteverdi’s L’Orfeo (2004), Rameau’s Dardanus (2005) and Mozart’s
The theorbo is a variation of the lute, with several extra bass strings attached to an
Idomeneo (2006). All were recorded by ABC Classics and are available on CD. extra pegbox half way up the neck of the instrument. The most recognisable thing
Our aims have not changed much since the beginning. In fact, our experience confirms that about the theorbo is its length – most instruments are around two metres tall or
longer. Fourteen strings seems to be the usual number, though this can vary. The lute
artistically we are working in a very fertile area and achieving very worthwile things. Financially,
and its variants – the archlute, theorbo and chittarone – were phenomenally popular
things have turned out to be more difficult. Box office has been excellent, donations have been
in their time (from the middle of the 16th century to the middle of the 18th) and much
generous and we have found some understanding sponsors but the gap between the costs of
extraordinarily virtuosic music was written for them. The theorbo section is featured in
presenting our productions and our income is not narrowing quickly. Consequently we have had ‘O servi, volate’ where it represents the servants rushing around preparing the feast.
to rely on a small group of music lovers who initially agreed to underwrite us for three years and
who have been persuaded to extend their support. Baroque Mandolin
We have ideas about what we want to do in the future: a Melbourne season in the Elisabeth The mandolin developed along with the lute family. In the 14th century a miniature
Murdoch Hall in the new Melbourne Recital Centre, a second Sydney production mid-year, and lute called the mandora appeared. The Baroque mandolin or mandolino developed
a program to give the next generation of musicians some experience of our kind of opera, are from this in several places in Italy. It had six gut strings (called courses) and was
played with a wooden plectrum or quill or with the fingers. Mandolinos were largely
some on the current list.
unknown outside of Naples until the mid-18th century when they became a novelty
The speed at which we can do these things, and indeed how long Pinchgut can continue to do instrument. You can hear the mandolino in Judith’s aria ‘Transit aetas’.
what we are doing now, depends on resources: people and money. If you would like to be part
of Pinchgut’s future and can help with either of these, please contact us.

Meanwhile, please discover the wonderful music for voice and orchestra composed by Antonio
Vivaldi for the young women of the Ospedale della Pietà in Venice 291 years ago. Please enjoy
Juditha Triumphans.
 Director’s Note
NEW from Pinchgut Opera on
The barbarian, the widow, and a beheading
ABC Classics… It’s the Bible that originally tells of Judith and Holofernes. He, a barbaric
IDOMENEO Assyrian general, invades Judea; she, a virtuous widow, seeks him out to
“ A work of almost unbearable beauty.” retaliate, which she does – by beheading him.

Using the story to their own political ends, Vivaldi and his librettist Cassetti
“ Outstanding singing.”
drew parallels to a Venice under threat from Turkish invasion, Judith
“ The uniformly superlative cast was symbolising the fighting spirit of the Venetians.
476 6350 (3CD SET

led by a toweringly effective A striking aspect of their treatment of the story is the ambiguity surrounding
realisation of the title role by the characters and their time together. Humanising Holofernes and Judith,
Mark Tucker.” Vivaldi and Cassetti pay tribute to what has been termed oratorio erotico.
Their Judith and Holofernes are variously repellent and seductive. As in the
famous paintings by Caravaggio and Gentileschi depicting this incident,
there exists a charged air of sexuality and intoxication.

The tensions that arise from the clash between their political motives and their
Following the international Mark Tucker Idomeneo
personal desires are the stuff I have chosen to focus on in making these
success of Pinchgut Opera’s Fiona Campbell Idamante
characters flesh and blood.
Martene Grimson Ilia
Semele, The Fairy Queen,
Penelope Mills Elettra While the specific political situations of the Old Testament and the
L’Orfeo and Dardanus, ABC
Paul McMahon Arbace Vivaldi/Cassetti versions have changed, religious, military and cultural clash
Classics again captures the Brett Weymark High Priest of Neptune are still with us and Juditha triumphans devicta Holofernes barbarie can’t help
brilliance of live opera in Didier Frédéric Voice (Oracle) but resonate with our contemporary world.

this 3CD album of Mozart’s Cantillation The Old Testament lands are still in dispute. Propagandists on all sides
Idomeneo – passionate Orchestra of the Antipodes on Classical instruments attempt to lend legitimacy to their actions through language such as ‘freedom
drama in sublime music. Antony Walker conductor fighter’, ‘defender’, ‘martyr’, ‘insurgent’ and ‘occupier’. All seem engaged in
an endgame of retribution that fails to approximate any form of resolution.
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zone bearing the scars of invasion and resistance – we play out its ancient
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narrative and allow for resonances with contemporary political struggles.

Judith’s mission is to assassinate Holofernes, but what happens when she

gains entry to his sanctum is a surprise to all sides. The widow becomes
emotionally awakened by Holofernes, as he is by her, and the drama
becomes both personal and political. Judith struggles to reconcile her desires
with her sense of duty to her people.

So it is this humanness, in the context of the bold political gesture of Judith

PINCHGUT OPERA 2008

“Gosh, it’s that time of year already – we have to make a

slaying Holofernes, which we explore in this production. In showing the
decision about what we’re going to do next year.”
singlemindedness that is required to perform this act, we question the
“How about a comedy? Our last four shows have been personal and psychic costs to its perpetrator.
very serious!”
Whilst we admire heroic deeds and resoluteness, the ‘virtue’ of conviction
“Vivaldi has been fantastic to work on. Let’s go Italian again.” can easily harden into an attitude that can only seek answers through an
“Hmmm – something funny and Italian – anything else?” unending cycle of violence. Yet violence is a cycle that speaks of a particular
and brutal form of power. Too readily it can blind us to humanity and other
“Well, Italians are witty and elegant...” possibilities. In such circumstances the dynamic of offence and defence may
“And a poll recently said they are the best lovers…” appear to be the true way of the world; however the peace and order
exemplified in the music of this work allude to another possibility that the
“Okay – have I got this right? It should be Italian, a comedy, language of violence obscures but never extinguishes.
witty, elegant and with lots of lovers.”
Mark Gaal
“Do you remember right back when we were thinking
about our first show, we thought about the works of
Francesco Cavalli?”
“Yes – he was a student of Monteverdi’s, and the most popular
opera composer of his time. He’s been rediscovered recently,
and everyone thinks he’s a great find.”
“Antony saw a beaut production of a Cavalli opera at
Pittsburgh Opera.Wonderful music.”
“Let’s do it!”
(drum roll....)

“Cavalli’s L’ORMINDO !”
“(It’s set in Morocco, isn’t it? Can we have a field trip?)”
Juditha triumphans, RV 644 in music, perhaps to make up for the lack of scenery and action in the original
unstaged performances, and because of the Latin text which not all the
audience would have been able to follow in detail.

Judith was left alone in the tent, with Holofernes stretched out on the bed, for he was overcome with Despite its all-female original cast, Juditha follows the casting conventions of late
wine… She went up to the post at the end of the bed, above Holofernes’ head, and took down his Baroque opera, with first and second male and female roles. Judith, a mature
sword that hung there. She came close to the bed and took hold of the hair of his head, and said: woman, and the male roles of Holofernes and the priest Ozias were composed
‘Give me strength this day, O Lord God of Israel!’ And she struck his neck twice with all her might, for contraltos. [In this production Holofernes is sung by a counter-tenor.] The part
of Judith’s servant Abra is set slightly higher to convey that she is younger and
and severed his head from his body.
unmarried. Vagaus, Holofernes’ steward, is a eunuch in the oratorio (although
The Book of Judith 13: 9 not in the Biblical story), and his part is written for a soprano. Thus, the vocal
writing is mostly confined within a fairly narrow range, Vivaldi seemingly saving
most of his ingenuity for the instrumentation. From the point of view of vocal
writing one of the most interesting arias is ‘Armate face’, the spectacular
vengeance aria Vagaus sings when he discovers the murdered Holofernes.
Although he is thought of today as an instrumental composer, in his own time There are no ensembles at all for the principal singers. The chorus, which in the
Vivaldi was one of the most successful vocal composers in Italy. He claimed to original performances would also have been made up entirely of girls and
have written over ninety operas and he also composed a considerable women, alternately represents Assyrian soldiers or people of Bethulia. What
amount of sacred vocal music, most of it for the Pio ospedale della pietà, one their part lacks in quantity (there are only six choruses in the entire work) is
of four ospedali (orphanages) in Venice run by the church where girls ‘were made up for in quality, as they sing one of the most beautiful pieces in the
trained solely to excel in music’, and where Vivaldi was violin teacher and whole oratorio, the mystical prayer which ends Part I.
sometimes music director during much of his career. Under his guidance the
Pietà’s all-female orchestra became one of the finest and most versatile Vivaldi was particularly renowned for his love of instrumental colour, and the
ensembles in all of Italy and its fame spread throughout Europe. It became a enormous variety of the instruments amassed by the Pietà clearly fired his
major tourist attraction; no traveller to Venice left without hearing it. An imagination in orchestrating Juditha.The Pietà was known for its early adoption
English visitor wrote in 1722: ‘Every Sunday and holiday there is a of new instruments and playing techniques: according to the French diarist
performance of music in the chapels of these hospitals [ospedali], vocal and Charles de Brosse, who heard the musicians of the Pietà in 1739, ‘they sing
instrumental, performed by the young women of the place, who are set in a like angels and play the violin, the flute, the organ, the oboe, the cello and the
gallery above and, though not professed, are hid from any distinct view of bassoon; in short there is no instrument, however great it may be, that can
those below by a lattice of ironwork. The organ parts, as well as those of the daunt them.’ For Juditha Vivaldi used every instrument available to him, some of
other instruments are all performed by the young women... Their performance them particularly exotic. The variety of instrumentation throughout the score
is surprisingly good...and this is all the more amusing since their persons are serves as a means of characterisation, necessary at the Pietà where the
concealed from view.’ performers would have been barely visible behind grilles draped with gauze,
and to convey drama and meaning in a religious work where emotions were
Vivaldi is known to have composed four oratorios, but Juditha Triumphans is implied rather than explicit. The score requires recorders, oboes, clarinets, four
the only one to survive. It was described as a ‘sacred military oratorio’, and theorbos, organ, trumpets, timpani, soprano chalumeau, a viola d’amore, and a
was first performed in Venice at the Pietà in November 1716. The Old consort of viole all’inglese (viols) as well as the customary strings and continuo.
Testament story of Judith, a Jewish widow, beheading the Assyrian general
The military pomp of the trumpets and drums in the opening chorus would have
Holofernes was a favourite subject for composers and artists, and the
immediately reminded the 1716 audience of Venice’s recent victory over the
heroine’s courage and virtue made it an apposite choice for a work to be
Turks and the allegorical nature of what they were about to hear. The overture
performed by young women. Oratorios, many of them based on stories of
has been lost, but it almost certainly would have contained very similar
biblical heroines, had been performed at the Pietà from 1690, and the girls
instrumentation. For this performance the Concerto in D major ‘con molti
sang all parts, including the male roles. The subject matter also had political
strumenti’ (with many instruments), RV562a, with horns, oboes and timpani will
significance: it was intended by the librettist, Venetian poet Giacomo Cassetti,
be used in its place. Oboes are used to suggest Juditha’s beauty in ‘O quam
as an allegory of Venice’s recent victory over the Ottoman Empire at the siege
vaga’ (O how lovely, how fair) for Vagaus and chorus in Part I, and they signify
of Corfu, an outpost vitally important to Venice’s presence in the Adriatic Sea.
sexual desire in Holofernes’ aria ‘Noli ò cara’ (O my beloved), which is scored
The oratorio’s full title, Juditha triumphans devicta Holofernis barbarie (Judith
for two oboes and organ only. Four theorbos suggest the bustle of servants
triumphs over Holofernes’ barbarians), underscores the meaning of the
preparing the banquet in Vagaus’ aria ‘O servi volate’ (Servants, be swift). The
allegory, in which Judith represents Venice.
aria ‘Quanto magis generosa’ (How much nobler), in which Judith asks
Holofernes for peace, intending that he fall in love with her, suggests this erotic
In Italy at this time, an oratorio was conceived as a large-scale concerted sub-text through a sinuous vocal line and the use of a solo viola d’amore, an
vocal work, musically similar to an opera, but with two major differences in its instrument described by Leopold Mozart (father of Wolfgang Amadeus) as ‘a
subject matter and mode of performance: its narrative was always based on special kind of violin that sounds lovely in the stillness of the night’. A delicate
a Biblical story, the devotional aspects of the plot being highlighted, and it mandolin accompanies Juditha’s musings on the transitory nature of life in
was typically presented in concert and not staged. Italian oratorios of this ‘Transit aetas’, and a consort of five viols provides an other-worldly
period were performed in church and were usually in two parts, separated by accompaniment to Juditha’s recitative and aria ‘In somno profundo’, where she
a sermon or a break for congregation/audience refreshments. Visitors to the stands over the sleeping Holofernes, steeling herself to do the fateful deed.
Pietà sometimes commented disparagingly that church services there were
treated more like concerts so, perhaps to counteract this impression and Juditha contains some wonderful examples of word painting (the use of a
legitimise the ‘sacred’ nature of the oratorios performed at the Ospedali, their musical gesture to depict the literal meaning of a word). When Juditha sings of
texts were required to be in Latin, not Italian. the swallow buffeted by the wind in the aria ‘Agitata infido flatu’, the futile
fluttering of wings is represented by repeated fast semiquavers, and a falling
The musical structure of an early 18th-century Italian oratorio, like that of an chromatic line in voice and violins represents the fierce storm. In her lovely aria
opera of the same period, was made up of a mixture of recitative (dialogue ‘Veni, veni’ (Come, come, follow me), the turtledove to which Juditha likens
sections in a style half-way between speech and song) and set-piece da capo herself can be heard in the accompanying chalumeau, a predecessor of the
arias, with minimal use of ensembles and choruses. Juditha conforms to this clarinet. In a further layer of meaning, 18th-century audiences would have
model in general terms, but with some interesting variations on the usual known that a turtledove was thought to remain faithful even after the death of its
conventions. In both opera and oratorio, recitative was the main vehicle for partner, and would have read this as an allusion to Juditha’s steadfast
conveying dialogue and for propelling the narrative, while the arias allowed character, while the repeated notes in the strings convey Juditha’s nervousness
characters to pause and reflect on the action. Unusually in Juditha, however, at the ordeal she has set for herself.
some of the arias advance the plot, for example Vagaus’ aria informing
Holofernes about the arrival of Juditha, and another in which he orders the Lynne Murray & Alan Maddox © 2007
General’s servants to prepare a banquet. Vivaldi’s recitatives in Juditha, too,
are often harmonically daring. Like the arias, they convey the drama intensely
Antonio Vivaldi
JUDITHA TRIUMPHANS JUDITH TRIUMPHANT
Unlike in Vivaldi’s day, it is now the custom for the house lights to be turned down
during dramatic performances. This libretto is provided for later reference.
OVERTURE
Sinfonia RV562, arr. Benjamin Bayl
From this distance, Vivaldi’s music is more interesting than the story of his life. Perhaps we know
PARS PRIOR FIRST PART
more about his music and perhaps there is more to discover about his life.
CHORUS CHORUS
Arma, caedes, vindictae, furores, Let weapons, carnage, vengeance, fury,
He left about 750 musical works, most of which only came to light over the past 70 years. Angustiae, timores famine and fear
Others are still being found. Precedite nos. go before us.
Rotate, Encircle us,
Pugnate give battle,
Antonio Lucio Vivaldi was born on 4 March 1678 in Venice, then a rich, though declining, O bellicae sortes, you Fates of War:
republic. His father decided that he should have a musical career and felt that the Church was Mille plagas, mille mortes inflict a thousand wounds,
Adducite vos. a thousand deaths.
the best place to develop that. Antonio began his training for the priesthood in 1693, when he
HOLOFERNES HOLOFERNES
was 15, and was ordained in 1703. We are told that he was known as Il Prete Rosso (The Red Felix en fausta dies Behold a joyous and blessed day,
Priest) because of his red hair, though the few portraits we have show him in a wig. O Magnanimi Eroes en fortunati: you noble heroes, how the gods have favoured you:
Prospera vobis sors, sydera, caelum: fate, the stars, the heavens all support your cause.
En post saecula tandem See how, after so many years,
In the year he was ordained, Vivaldi became a violin teacher at the Ospedale della Pietà
Venit optata lux, lux suspirata, the longed-for light has come, the light long desired,
orphanage for girls, where he also composed sonatas, concertos and church music. Qua magni in vestro Duce, by which you shall be great through your Leader,
Qua Dux Magnus in vobis: and your Leader shall be great through you.
By the second decade of the 18th century, opera had become hugely popular in Italy. Vivaldi Cunctis aequa You shall all
Erit tandem Victoria, achieve Victory,
composed his first opera, Ottone in villa (Otto in his Villa), in 1713 and it was performed in a Et vestro invicto Regi and your undefeated King
theatre in Vicenza. It was a moderate success and over the next few years he wrote Orlando Honor, et gloria. shall win honour and glory.

finto pazzo (Orlando Feigns Madness) (1714), Orlando furiosa (Orlando Enraged) (1714) and Nil arma, nil bella, Arms, battle,
Nil flamma furoris burning rage: all are nothing
Arsilda, regina di Ponto (Arsida, Queen of Ponto) (1716) as well as several that have been lost
Si cor bellatoris if the warrior’s heart
(or perhaps, not yet found). Est cadens in se. has sunk low.
Si pugnat sperando, If he fights in hope,
Juditha Triumphans was commissioned by the Pietà in 1716 to celebrate Venice’s victory over the Iam virtus pugnando then that hope will strengthen
Vigescit in spe. his arm for battle.
Turks. Venice, with great help from the Hapsburg Empire, had defended Corfu but in the
VAGAUS VAGAUS
subsequent Treaty of Passarowitz, Venice ceded important territory to Austria. In the end, it was Mi Dux, Domine mi... Commander, my Lord…
not really an event to celebrate. HOLOFERNES HOLOFERNES
Et quid ne petis? What do you want?
In 1717 or 1718 Vivaldi left Venice and took a position at the court in Mantua, then part of the VAGAUS VAGAUS
Austrian Empire. He kept a relationship with the Pietà, though, and was paid to compose two Felicitatis tuae Nuncius accedo. I come bearing tidings of your good fortune.
concertos a month and to rehearse the orchestra from time to time. HOLOFERNES HOLOFERNES
Quidne fausti tu refers? What auspicious news do you bring?
Vivaldi spent three years in Mantua and wrote several operas. In 1720, when the Empress died VAGAUS VAGAUS
in Vienna and all theatres in the Empire were closed, Vivaldi returned to Venice and the Pietà. In Nil nisi Gloriae tuae grande incrementum, Nothing that does not add to your great Glory:
Et vere oculis tuis dulce portentum. truly, a sweet portent in your sight.
1721 he was in Milan and in 1722 in Rome; operas were produced in both these cities but they
HOLOFERNES HOLOFERNES
have been lost. Dic. Speak.
VAGAUS VAGAUS
In 1725 in Amsterdam a collection of twelve concertos by Vivaldi, his Opus 8, was published Matrona inimica A noble lady of the enemy
under the title Il cimento dell’Armonia e dell’Inventione (The Contest between Harmony and Te quaerit ad arma has come to our troops asking after you,
Dux magne Holofernes. mighty Lord Holofernes.
Invention). The first four works in the collection were The Four Seasons, which have become
Et cito deh, credas, And soon, believe me,
probably the best-known and most-played compositions from the Baroque repertoire. Tibi erit amica she will be yours –
Si lumina cernes. you have only to set eyes upon her.
By this time Vivaldi was at the height of his powers and fame. He wrote a cantata for the HOLOFERNES HOLOFERNES
wedding of Louis XV of France to the Polish Princess Maria in 1725. Huc accedat Matrona, Let the Lady draw near,
Et sit armorum Marti ebrea Bellona. be she the Hebrew Bellona to the armies of Mars.
In Bethulia vilescunt In Bethulia our foes are growing weak,
In 1730 Vivaldi was in Vienna and Prague, where the opera Farnace was produced. Vienna Hostes miseri Egeni: undique luctus they are wretched and in need: all around are
was as lively a musical city then as it is now: it had a Venetian opera company that, between Saevus undique clamor. laments and wild raging.
Hic anhelat, One gasps for breath,
1724 and 1734, presented sixty operas. Not a lot is known about Vivaldi’s life during the
Hic gemit, ille plorat, another groans; one weeps,
1730s. He was certainly prolific, concentrating mostly on opera. We do know that in 1735 the Dolent omnes; all are suffering.
opera Griselda was performed in Venice’s Teatro San Samuele, from which Vivaldi had up until Nil nisi timor, nil nisi maerentium There is nothing but fear, nothing but grief,
Ignavia, desperatio, afflictio, inopia, despondency, despair, pain, poverty
then been excluded. Et lacrimarum copia. and floods of tears.
VAGAUS VAGAUS
Vivaldi’s popularity weakened in the late 1730s and Venice was losing its prosperity. Vivaldi Veni Foemina illustris, Come, illustrious lady,
struggled to make money from his operas. The interest of Emperor Charles VI in Vivaldi’s music Pulcra Bellatrix huc, lovely warrior-woman, draw near;
Lumine, et pede your eyes, your bearing
made Vienna attractive and Vivaldi went there in May 1740. However in October the Emperor Videntes feri, lay low all who see you.
died, leaving no male heir. This led to the War of Austrian Succession. Vivaldi and opera Et generosa accede. Approach, noble lady.
were not first priorities for Charles’ daughter Maria Theresa so his career did not flourish. JUDITHA JUDITH
He continued to sell manuscripts to support himself but, it seems, composed nothing new Quocum Patriae me ducit amore Wherever I am led by love of the Fatherland
Libertatis dulcissima spes, and the hope of liberty, sweetest of hopes,
while in Vienna. Summo ductus a caeli fulgore guided by the highest rays of heaven
Tuto pergat per classica pes. may I walk in safety among these soldiers.
In July 1741 Vivaldi died of innerlicher Brand, literally ‘internal fire’. He was buried as a pauper ABRA ABRA
in the Hospital Cemetery, now site of the Hotel Sacher, and (perhaps) a nine-year-old Joseph Ne timeas non, laetare Do not be afraid: rejoice, rather,
Casta Vidua dilecta virtuous and esteemed widow:
Haydn sang in the funeral service in Stephansdom. Certa virtutis tuae munera expecta. truly you shall receive rewards befitting your virtue.
Vultus tui vago splendori Before the dazzling splendour of your face
Ken Nielsen
Cedit ira ridet amor. anger fades away, and love smiles.
Ac tui numinis honori And in honour of your noble spirit
Sources and further reading: Laetus plaudit omnium clamor. all cry out with shouts of joy.
Vivaldi: Voice of the Baroque, by H.C. Robbins Landon Vide, humilis prostrata See how this people, though armed,
Vivaldi: The Red Priest of Venice, by Karl Heller In vultus tui nitore, lies prostrate in all humility,
Quam estatica sit gens tanta armata. overwhelmed by the glory of your face.
JUDITHA JUDITH
Nil morae. Ad Holofernem Of your courtesy, take me straight
Me ducite benigni to Holofernes,
Duces bellici honoris, valiant warriors.
Pacis en nuncia venio, et non furoris. I come as a messenger of peace, not of battle-rage.
VAGAUS ET CHORUS VAGAUS AND CHORUS Agitata infido flatu Tossed about by the fitful wind
O quam vaga, venusta, o quam decora, O how lovely, how fair, O how comely you are, Diu volatu during its long flight,
O spes nostrae victoriae unica, et vera. our one and true hope of victory. Vagabundo the vagrant
Tentoria vultu tuo ducis honora Honour the tent of our leader with your presence, Maesta hirundo swallow grieves, weeping
Et cuncta ab Holoferne attende, et spera. put all your faith in Holofernes, and have hope. It plorando boni ignara. as it flies for the good things it has never known.
Sed impulsu aurae serenae But carried on a fair breeze
VAGAUS VAGAUS Tantae cito oblita poenae it soon forgets its sorrows.
Quem vides prope, aspectu The man you see close at hand, who seems In dilecta In the comfort
Terribili, et suavi, so terrible yet so charming, Dulcia tecta of its soft nest
Quem quaeris, ipse hic est: amore, et fide, he is the one you seek; in love and faith Gaudii ridet haud avara. it laughs for joy, desiring nothing more.
In ipso pulcra Sion spera, et confide. put your trust in him, fair Zion, and have confidence.
HOLOFERNES HOLOFERNES
HOLOFERNES HOLOFERNES In tentorio supernae In my tent
Quid cerno! Oculi mei What do I see before me! My dazzled eyes, Sint in ordine coenae. let a meal be served fit for the gods.
Stupidi quid videtis! what is this you are seeing? Quid, quid natat in Ponto, Whatever swims in the river Pontus,
Solis, an caeli splendor! Surely this is the sun, the splendour of the heavens! Quid, quid in Caelo, whatever flies in the heavens,
Ah summae prolis Ah, most exalted of beings, et terra nutrit whatever is nourished by the earth,
Vincunt lumina sua lumina solis. whose eyes are more potent than the sun’s rays! Ne sit legere grave. let nothing be too difficult to obtain.
Sistite, viatrici Stay your path, travellers! Hinc nostrae Reginae, Henceforth, to our Queen,
Praeparate Trophea, spargite flores, Prepare tributes, spread flowers beneath her feet, Cui Vagae, tu deservies, whom you, Vagaus, shall serve,
Et obvient Divae suae teneri Amores. and let the Cupids come forth to meet their Goddess. Sit cretensis Lyei donum suave. let the sweet gift of Cretan Dionysos be given.

JUDITHA JUDITH VAGAUS VAGAUS

Summe Rex, strenue miles, Greatest of Kings, valiant warrior, O servi volate, Servants, be swift
Nabuc Regis cor, cuius in manu heart of King Nebuchadnezzar, holding supreme Et Domino meo and prepare the meal
Stat suprema potestas, nutui cuius power in your hand, you command Vos mensas parate for my Lord,
Fortuna, et sors obedit, Fortune and fate, Si proxima nox. for it is nearly night.
Et cuncta iura sua gloria concedit. and your glory ensures justice. Invicto Holoferni Let us sing in chorus and response
Cantemus alterni, of the unvanquished Holofernes,
HOLOFERNES HOLOFERNES Honoris, amoris let our voices ring out with one accord
O quam pulcrior in pulcro How much lovelier is virtue when voiced Sit consona vox. for honour and for love.
Virtus est ore sonans! Quidnam petis, by such lovely lips! What would you have of me,
Suavissima supplex? most charming of suppliants? CHORUS CHORUS
Honoris, amoris Let our voices ring out with one accord
JUDITHA JUDITH Sit consona vox. for honour and for love.
Non mihi, Patriae meae Not for myself, but for my Fatherland
Spem salutis exoro, do I beg for hope of deliverance, VAGAUS VAGAUS
Et sic Bethuliae a te pacem imploro. and thus I plead with you for the peace of Bethulia. Tu quoque hebraica ancilla You also, Hebrew handmaid,
In nostro gaudio tanto shall share in our great joy
Quanto magis generosa, How much nobler, Eris in corde tuo laeta, et tranquilla. and be glad of heart, and at peace.
Plus victori gloriosa how much more glorious to the conquerer,
Venia victo magis cara. how much more precious is mercy to the conquered. ABRA ABRA
O quam pulcra tua potentia How glorious would be your power Quam audacter discurrit How boldly he holds forth,
Non minus servus suo Domino nequam. the servant no less than his Lord.
Illustrata tua clementia! if illumined by your clemency!
Properemus Juditha: ubique semper Let us make haste, Judith: always and everywhere
Parce Dux, ac tolle amara. Spare us, Lord, and sweeten our bitter lot.
Tecum sperans in Caelis sharing your hope in Heaven,
HOLOFERNES HOLOFERNES Ero Dominae meae socia fidelis. I shall be a faithful companion to my Mistress.
Magna, o foemina petis, You ask much, woman;
JUDITHA JUDITH
Quae maxima, si dentur! you would be granted more, if you asked it!
Veni, veni, me sequere fida Come, come, follow me, my faithful
Majora sed a me tibi debentur. Yet I am even more indebted to you.
Abra amata, and beloved Abra,
O timpana silete, Drums, be silent,
Sponso orbata. deprived of your husband.
Recedite o Phalanges, batallions, draw back;
Turtur gemo ac spiro in te. Like you, I too lament like the turtle-dove.
Cedite amori meo, cedite invictae yield to my love, yield to this undefeated woman,
Dirae sortis tu socia confida In this terrible fate, you are my trusted companion;
Faces, tela, sagittae, you torches, spears and arrows,
Debellata when our thankless destiny
Et vos bellica in campo impia tormenta. you ungodly engines of war on the field of battle:
Sorte ingrata, is fulfilled,
Estote in gaudio meo nova contenta. find satisfaction in my joy.
Sociam laetae habebis me. you shall have me as your companion in joy.
Hic sede amica mea. Sit here, my sweet friend.
ABRA ABRA
JUDITHA JUDITH In Urbe interim pia Meanwhile in our holy City
Non tantus honor Such honour should not be Incertas audi voces, aura levis I hear confused voices; a faint breeze
Tuae famulae donetur. bestowed on your servant. Fert murmur voti brings rumour of your vow,
HOLOFERNES HOLOFERNES Et gloriae, credo, tuae. and, I believe, of your glory.
Gemunt et orant una With one voice the maidens of Judah
Tu me honoras. It is you who honour me.
Virgines Juda, incertae sortis suae. groan and pray, not knowing what will befall them.
JUDITHA JUDITH
CHORUS CHORUS
Te colo. I am your devoted servant.
Virginum psalentium in Bethulia: The young women in Bethulia sing a psalm:
HOLOFERNES HOLOFERNES Mundi Rector de Caelo micanti Ruler of the world and of the sparkling Heaven,
Sedeas hic. Sit here. Audi preces, et suscipe vota hear our pleading, and receive the prayers
Quae de corde pro te dimicanti offered with devotion
JUDITHA JUDITH Sunt pietatis in sinu devota. by faithful hearts enlisted in thy cause.
Non debeo, non. No, that is not my place.
In Juditha tuae legi dicata In Judith, consecrated to thy law,
HOLOFERNES HOLOFERNES Flammas dulcis tui amoris accende kindle the sweet fire of thy love
Sic jubeo, et volo. It is my command, and my wish. Feritatis sic hostis domata that the savagery of the enemy may be tamed
In Bethuliae spem pacis intende. and the hope of peace granted to Bethulia.
Sede, o cara, Sit, my dear one,
Dilecta speciosa my beloved, my beauty, Redi, redi iam Victrix pugnando Return, return victorious in battle,
Mea vivida rosa, my living rose, In cilicio in prece revive Draw strength from penitence and prayer.
Mea fulgida fax. my shining flame. De Holoferne sic hodie triumphando Thus defeating Holofernes this day,
Tu Marti triumphanti, To Mars in his triumph, Pia Juditha per saecula vive. may faithful Judith live for ever.
Tu bellico amanti to your warrior-lover,
Pulcherrima Pax. you are fairest Peace.
PARS ALTERA SECOND PART
JUDITHA JUDITH
OZIAS OZIAS
Tu Judex es, tu Dominus, tu potens You are Judge and Lord, you are commander
Summi Regis in mente I possess knowledge of the highest mysteries
In exercitu tanto, et tuae dextrae victrici of so mighty an army, and the stars are aligned
Mihi sunt alta arcana: hostis Tyranni, of the greatest of Kings: I foresee that our tyrant
Semper aspectu sint astra felici. to bless your victorious right arm for ever. Bellatoris iniqui enemy, the fell warriors,
HOLOFERNES HOLOFERNES Prope, caelo favente, will soon, through the grace of heaven,
Felix per te, Thanks to you, I have found happiness, Fata extrema prevideo. meet their doom.
Magisque felix ero, and I shall be even happier Deus Abraham God of Abraham,
Si dum sepulta manet if, while Apollo’s light lies buried Exercitum Deus es, potens in bello, thou art God of Hosts, mighty in battle;
Lux Apollinis unda, beneath the waves, Tuo nomini inimicam by thy name and the power
Virtute dexterae tuae dissipa Gentem. of thy right hand, scatter the foreign enemy.
Me te dignum you will do me the honour
Te supplices precamur: We humbly pray thee:
In convivio tu reddas, of feasting with me as my guest,
Tibi gloria may the coming victory of thy devoted people
Ut melius pacis nostrae amatae, et carae, so that I may fittingly celebrate with you
Sit diligentium te nova victoria. be to thy greater glory.
Solemnia tecum possim celebrare. the hallowing of our cherished, beloved peace.
O Sydera, o stellae, Ye stars and constellations,
JUDITHA JUDITH
Cum luna cadenti now at the waning of the moon
Inter convivia, et dapes At feasts and banquets
Estote facellae be funeral torches
Torpescent labia mea my lips turn numb,
In hostem ferales. to our enemy.
In jeiunio assueta: accustomed as they are to fasting:
Cum nocte felici In this blessed night
Tristis, nec unquam laeta sorrowing, taking no delight
Ruant impii inimici, let the godless enemy be destroyed,
In eduliis astricta in food,
Et sole surgenti and may they be discovered lying dead
Nescia est delitiae tantae anima afflicta. my suffering soul knows nothing of such pleasures.
Sint luces mortales. by the light of the rising sun.
Jam saevientis in hostem Already the prayers of our virtuous Judith, JUDITHA JUDITH
Castae nostrae Judithae who is even now in fierce combat with the enemy, Faxit de Caelo Rex, This is the work of the King of Heaven,
Gratae sunt Caelo preces, triumphando have been accepted by Heaven; in triumph Reges qui regit, the King of kings,
Ad nos cito redibit, she will soon return to us, Et cordis mei devota God in his mercy has heard
Et Duce ablato ria gens peribit. and, deprived of its leader, the sinful race will perish. Exaudiat pietas Dei suspiria et vota. the sighs and entreaties of my devoted heart.
HOLOFERNES HOLOFERNES VAGAUS VAGAUS
Belligerae meae sorti, O my beloved, I beg you to pardon me Bene in thalamo quiescat, Let him rest in his bedchamber;
Quaeso, o cara condona: my soldierly ways: Mensas tollo, I shall clear the tables,
Haec numine conviva these dishes are not worthy Et hic pulcra Juditha and here, lovely Judith,
Non sunt fercula digna. of one who is companion to the gods. Potes cum Duce tuo sola laetari, you may savour this time alone with your Commander,
Et poenas cordis tui tu consolari, and comfort the sorrows of your heart.
JUDITHA JUDITH
Sed huc ancilla venit, But here comes your servant:
Magnitudinis tuae bene sunt signa. They well show forth your greatness.
Jam festinans discedo, I will leave quickly
HOLOFERNES HOLOFERNES Et sic amori tuo locum concedo. so that you may have this place for your loving.
Magnum meum cor tu reddis, You will make my heart swell
JUDITHA JUDITHA
Si amantem vultus tui iure me credis. if you believe that your face has made me love you.
Bene venisti, o fida, Faithful servant, you are most welcome!
JUDITHA JUDITH En tempus nostrae gloriae, This is the hour of our glory,
Nil nisi sui Factoris No image save that of its Creator Et suspirata tandem hora victoriae. and the long-awaited moment of victory.
In orbe a creatura may be worshipped
ABRA ABRA
Est conservanda Imago. by any creature on earth.
Cuncta fauste succedant, May all your endeavours be crowned with success,
HOLOFERNES HOLOFERNES Et tibi, o mea Juditha and may you, O my Judith,
Ad tantum cogis me vultu tuo vago. It is your fair face that makes me so bold. Eris, et Patriae tuae, and your nation be blessed
Salus et vita. with prosperity and life.
JUDITHA JUDITH
Quid, quid splendet in ore Any beauty shining in a face JUDITHA JUDITH
Est pulvis, umbra, nihil. is dust, darkness, nothing. Nil ultra: claude fores, No more now: seal up the entrance to the tent
Impedi viatores, and let no-one enter;
Transit aetas, volant anni, Life passes, the years fly by;
Et caelesti fervore cor accende, let your heart burn with the passion of heaven.
Nostri damni we are the cause
Et mox victricem me tacita attende. I shall soon return victorious; wait for me here in silence.
Causa sumus. of our own destruction.
Vivit anima immortalis The immortal soul lives on ABRA ABRA
Si vitalis where the flames of Non ita reducem The child
Amor, ignis, cuncta fumus. love and passion are but smoke. Progeniem noto returning home
Raptam a gelido through the savage icy storm
HOLOFERNES HOLOFERNES
Mater expectat, is not awaited by his mother
Haec in crastinum serva: Ah, nimis vere Keep all that for tomorrow. Ah, now I know
Ut ego fervida more eagerly
Esse ignem sentio amorem, all too well that love truly is a fire:
Expecto te. than I shall wait for you.
Si nimis sentio in me viscera ardere. I can feel my own heart burning within me.
Sed poena barbarae, But the pain of a brief
JUDITHA JUDITH Et brevis morae yet cruel delay
Tanti caloris aestum Strive to temper such hot passion, Animam nimium torments the soul
Tempera strenue Dux, flammas evita... Commander, flee from the flames… Vexat amantem who loves too much
Timore, et spe. with fear, and hope.
HOLOFERNES HOLOFERNES
Uror... I am on fire… Jam pergo, postes claudo, Now I shall go and close up the tent,
Et te nostra Eroina expecto et laudo. and wait for you, our Heroine, and praise you.
JUDITHA JUDITH
Longe ibo... I shall go far away… JUDITHA JUDITH
Summe Astrorum Creator, Sovereign Creator of the stars,
HOLOFERNES HOLOFERNES
Qui de nihilo jam cuncta eduxisti, who brought forth out of nothing all that exists,
No, cara Juditha. No, my darling Judith.
Et tibi ut servi essemus and, that we might serve you,
Noli o cara te adorantis O my beloved, do not disdain Ad imaginem tuam tu nos fecisti, made us in your image,
Voto Ducis non favere, the entreaties of a ruler who adores you; Clemens in Caelo Pater, merciful Father in Heaven,
Et suspiria animae amantis at least learn not to shudder Potens in Mundo Deus, mighty God on earth,
Saltem disce non horrere. at the sighs of a loving soul. Qui Jaheli victrici, who gave strength to the victorious Jael
Qui Deborae pugnanti vim dedisti, and to warring Deborah,
JUDITHA JUDITH
Adiuva nos in prece, et culpas tolle, help us as we pray, and take away our guilt,
Tibi dona salutis I pray that the Lord of Heaven
Et de forti tua dextra and with the power of your right hand
Precor e Caelo Dux. may grant you salvation.
Imbelli dextrae meae robur extolle. raise up my frail arm to be a tower of strength.
HOLOFERNES HOLOFERNES
In somno profundo While he lies
Prosit: bibendo Let it be so: as I drink,
Si jacet immersus deep in slumber,
A te salutem spero, I hope to be saved by you,
Non amplius sit vigil he whom you have cast into sleep
Et si tu amabis me, and if you will love me,
Qui dormit in te. cannot be watchful.
Tua salus ero. I shall be your salvation.
Quiescat exanguis, Let the sleeper be drained of blood,
CHORUS CHORUS Et sanguis that I may glory
Plena nectare non mero Not with pure wine but with nectar Sic exeat in that blood
Aurea pocula almi amores are the golden goblets filled; kindly Cupids, Superbus in me. as it pours forth.
Myrto et rosis coronate. crown them with myrtle and rose,
Impii, indigni Tiranni Ah, see: the sword of the godless, dishonourable tyrant
Et in mutuo gaudio vero and in true mutual delight
Conopeo hic apensum is hanging here below the canopy
Horum numinum ardores feed the passion of these divine beings
Denudo ferrum, ictus tendo, infelicem of his bed:
Dulci flamma prosperate. with your sweet flame.
Ab Holofernis busto from the body of Holofernes,
JUDITHA JUDITH Deus in nomine tuo scindo cervicem. O God, in your name, I strike off the wretched head.
Sic in Pace inter hostes Thus, in Peace, amidst our enemies Salvete o pia tentoria Farewell, good tent:
Sit mea Patria inofensa. may my nation live inviolate. In vobis semper clara may the noble victory won in you
Sed quid video! Holofernes But what is this I see! Holofernes Et caelo, et mundo sit alta victoria. shine forth forever in heaven and on earth.
Accensus mero suo dormit in mensa! drunk on wine is asleep at the table!
Abra, Abra, accipe munus, Abra, here, take this
Consurgam. Vestro Duci Let us arise. You servants, come quickly
In saculum repone, et fida ancilla and put it in a bag, faithful handmaid, and
Huc accurrite, o servi: huc Abra veni, to help your Master. Abra, come here,
Me sequere, festina, follow me quickly,
Hic in tentorio stantes, let us wait here in the tent.
Et clemens extra castra and may the merciful right hand of God
Dum dormit inimicus While our enemy sleeps,
Tuto perducat nos dextra divina. lead us safely out of the camp.
Precemur vere Deum nos vigilantes. let us keep vigil and offer fitting prayers to God.
ABRA ABRA
VAGAUS VAGAUS
Quid mihi? Oh mira res! Diro Draconi What are you giving me? O miracle! You have cut off
Umbrae carae, aurae adoratae Dear shades, beloved zephyrs,
Tu caput obtruncasti, the head of the horrible dragon, and in the same stroke
Deh gratae ah, lull him
Et simul una in uno omnes domasti. have singlehandedly defeated them all.
Spirate; with gentle breezes;
Eamus cito eamus, Let us leave quickly now.
Si Dominus dormit if the Lord sleeps,
Et mille mille Deo gratias agamus. and offer a thousand thousand thanks to God.
Stet tacita gens. let the people be silent.
A cura tam gravi His cares are so great: Si fulgida per te Through you
in somno suavi in soothing slumber Propitia caeli fax the auspicious flame of heaven has shone forth;
Sit placida mens. may his mind be eased. Si dulci animae spe kindly peace shines out in glory
Refulsit alma pax, as the reflection of your soul’s sweet hope;
Quae fortunata es tu vaga Matrona, How fortune has smiled on you, fair Lady!
Solum beato yet to our blessed Leader alone,
Quae de tam strenuo Duce triumphasti, You have triumphed over so mighty a Commander,
Duci increato to him who was never created,
Et hostium domatorem tu domasti. and conquered the conqueror.
Debetur nostra pax, do we owe our peace
Et nostra gloria. and our glory.
VAGAUS VAGAUS
Jam non procul ab axe It is not long now until
Est ascendens Aurora, undique rara the rising of the Dawn; scattered across
Caelo sydera micant: in tentorio the heavens, the last stars are twinkling: within the tent
Pallet incerta lux: patet ingressus, a flickering light is dying: the entrance stands open,
Neminem video. I can see no-one.
Sed heu, heu, quid cerno? But alas, alas, what is this?
Fusus undique sanguis! Blood everywhere! PINCHGUT OPERA LIMITED Sincere thanks to
Heu, quam horrendum visu! Alas, what a hideous sight! Andrew Isles and John Pitman (A. Royale) for their
Truncus Domini mei jacet exanguis. The headless body of my Lord lying drained of blood! ABN 67 095 974 191 generous donation of rehearsal space, amenities
Milites huc venite, Soldiers, come here! PO Box 239 and time; Robert Patterson, Martin Buzacott and
Surgite, o servi, excubiae non dormite. Get up, servants! Guards, wake up!
Omnes perditi sumus: We are all lost, with
Westgate NSW 2048 Virginia Read at ABC Classics for recording
Bethulia amissa, et Holoferne extincto. Bethulia slipped from our grasp, and Holofernes dead. www.pinchgutopera.com.au Juditha Triumphans and the past Pinchgut operas,
Heu cuncti, cuncti miseri ploremus, Alas, let us weep for all our misfortunes, and for their ongoing support and encouragement
Et Ducis nostri funus vindicemus. and avenge the death of our Commander. Patrons Kenneth W. Tribe AC, for Pinchgut Opera; John Crawford and ABC
Armatae face et anguibus Armed with torches and serpents, Moya Henderson AM Classic FM for the radio broadcast and their
A caeco regno squallido come forth from your blind, foul kingdom, Artistic Directors Erin Helyard and Antony Walker continued support and encouragement; Erin
Furoris sociae barbari you savage partners of raging frenzy: Helyard; Cynthia Leive, Director of the Martin
Furiae venite ad nos. Furies, come to us! Artistic Administrator Alison Johnston
Duchow Music Library, Schulich School of Music,
Morte, flagello, stragibus In death, scourging and slaughter Marketing Manager Anna Cerneaz
Vindictam tanti funeris teach our raging hearts
McGill University, Montreal; Julie Simonds; The
Chair Elizabeth Nielsen King’s Consort for the use of their edition of Juditha
Irata nostra pectora to avenge
Duces docete vos. this murderous deed. Lawyers Grinberg Young Triumphans; Elaine Townshend for her generous
OZIAS OZIAS Auditors Barry Mendel, Frank & Co. donations and help; Brendan Blakeley for all of his
Quam insolita luce With what a strange, new light support, practical assistance and encouragement;
Eois surgit ab oris the dawn rises in the east, For Juditha Triumphans Lyn Heal and Chris Yates (costumes), Steve
Floribus cincta suis roscida garlanded with flowers still wet with dew! Repetiteur Benjamin Bayl Edwards (Opera store), Simon Carlton (props) and
Aurora! O quam ridet serena Oh, how this glad day, full of light,
Assistant Stage Manager Nell Ranney all at Opera Australia; John Preston, Andrew
Jucundo nobis dies lumine plena! laughs with us in our joy!
En venit tandem venit See, she comes, at last she comes, Production Assistant Chris Childs-Maidment Britain and Eric Duffy (Sydney Theatre Company);
(Eam a longe prospicio, ad eam curramus) (I can see her in the distance, let’s run to her!) Robin Monkhouse and Rob Kelly (NIDA); Doug at
Head Electrician Neil Fisher
Venit Juditha venit, she is coming, Judith is coming, Advance Scaffolds; Heavenly Doves; all at 2MBS-
Et Juditha triumphans. Filia electa and Judith has triumphed. Chosen daughter, Lighting Operator Brent Forsstrum-Jones
FM; Jennifer Bowen and ABC Radio National;
Quanto gaudio te amplector: Summe Deus how joyfully I embrace you: Sovereign God, Language Coaching Richard Black Paul Nyul (Advanced Visuals); Jennifer Gardiner,
Exultat ecce in te spiritus meus. see how my spirit exults in you!
Program Editing Natalie Shea Gwyneth Morgan, Maire Glacken, Jan Beardmore
Gaude felix O happy city of Bethulia Surtitles Dominic Ng and Natalie Shea and Jeannette Peters for help with costumes; Dylan
Bethulia laetare rejoice and be glad,
Surtitle Operator Dominic Ng Cooper for his work on the Pinchgut website;
Consolare be comforted,
Urbs nimis afflicta. you who were so sorely afflicted. Recording Producer Virginia Read Simon Brown for his work on the mutes; Carey
Caelo amata Beloved of Heaven, Beebe for his help and advice with the
Recording Engineer Allan MacLean
Es fortunata you are blessed, harpsichords and chamber organ; ABC Classics
Inter hostes semper invicta. no enemy shall ever conquer you. Keyboards Tuner Carey Beebe and ABC Classic FM for the loan of a rehearsal
CHORUS CHORUS Costume Assistant Gabrielle Logan harpsichord and rehearsal risers; Northside Opera
Salve invicta Juditha formosa Hail, Judith, beautiful and undefeated, Dresser Penelope Korths Group and the Sydney Opera Society; Lucy Greig;
Patriae splendor spes nostrae salutis. the glory of our nation and our hope of salvation. David Johnston and Dominic Ng; Leta Keens;
Hair and Makeup Danae Wood
Summae norma tu vere virtutis You shall forever be the ultimate model of true virtue,
Artwork and Design This Is Real Art Annie Whealy, ‘Music with a View’, and Jill
Eris semper in mundo gloriosa. glorious throughout the world.
Debellato sic barbaro Trace Thus the Thracian barbarian has been defeated;
Downer, Early Music Enterprises; Valter di Cecco;
Program Design Imagecorp
Triumphatrix sit Maris Regina. let the Queen of the Sea exult in triumph! Chameleon Touring Systems; Omar at Souk; David
Et placata sic ira divina And thus, the divine anger calmed,
Production Photography Simon Hodgson Peters; Fiona Cooper-Sutherland; Dick Weight
Adria vivat, et regnet in pace. long live Adria, and may she reign in peace. Rehearsal and Artist Photography Bridget Elliot Prop Studio (ph 0408 023 931;
Production Volunteers Nadine Mohr, Stefanie Orlik [email protected]).
Translation: Natalie Shea

HEROES OF PINCHGUT Gadens Lawyers (Geoff Patricia H. Reid

Applegate) C. Rich
Pinchgut Opera wants to thank Dr H.P. Greenberg A.E. Sinclair
all its ‘Heroes of Pinchgut’ who Katherine Grinberg Elizabeth Steel
have generously donated to the David Hartgill Sue Taylor
Pinchgut Opera Public Fund John H. Hastings Greig Tillotson
this year: Esther Janssen Kenneth W. Tribe AC
Elizabeth & Ian Johnston Prof. Ray Wales
Jennifer Alison
Mrs W.G. Keighley Don & Ilona Walker
Gillian Appleton
John Lamble AO Barbara Woodfine
Humphrey & Janine Arundel
Leah Lavigne Derrick Woodhouse
Russell & Jan Beardmore
Richard Letts and all the others who wished to
Jan Bowen
John & Ingrid Little remain anonymous – thank you
Neil Burns
Macquarie Bank Foundation all – you are truly Heroes.
Dr Brian Carey R. Marek
Michael & Colleen Chesterman The Marsh Family Trust If you would like to join the
Joan Connery George Masterman Heroes of Pinchgut and help
Constable Estate Vineyards Michael & Jim McAlary assure Pinchgut Opera’s future,
Janet Cook and Mrs Joyce Tim & Gillian McDonald your donation would be greatly
Sproat Ann McFarlane appreciated. Donations over $2
Moya Crane Barbara McNulty are tax deductible and can be
Kristen Durran Nick & Carolyn Minogue sent to:
Margaret Easton Marilyn Moulton
Pinchgut Opera Public Fund
Rosemary & Ron Farrow Dr Henry Nowik
PO Box 239
Alexander Ferson Leone Oliver
Westgate NSW 2048
Barbara Fisher Ilma Peters
Anita Florin Mrs D.E. Pidd Receipts for tax purposes will
Auret Flower Ern & Deirdre Pope be issued.
A City of Sydney Venue Managed by Pegasus Venue
Management (AP) Pty Ltd

Clover Moore Christopher Rix

Lord Mayor Founder

Management and Staff Barbara Keffel

FOH Manager
Bronwyn Edinger
Graham Parsons
General Manager
Operations Manager
Lisa Robertson
Craig Thurmer
Deputy General Manager
Box Office Manager
Gina Anker
Jeff Todd
Marketing Manager
Technician
Cally Bartley
City Recital Hall Angel Place
Technical Manager
2-12 Angel Place, Sydney, Australia
James Cox GPO Box 3339
Venue Hire Coordinator Sydney NSW 2001

Thatsany Geyer Administration 61 2 9231 9000

Accounts Coordinator Box Office 61 2 8256 2222
1300 797 118
Stephen Haimes Facsimile 61 2 9233 6652
Ticketing and Office Coordinator www.cityrecitalhall.com