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Betulia Liberata, K. 118, premiered in 1771, was called an azione sacra. Essentially it is an oratorio, Mozart's only one, but its libretto by Pietro Metastasio has strongly operatic qualities; there are few choruses, and those that exist are part of the action, not commentaries. The story is based on the biblical tale of the Israelite heroine Judith and her seduction and then decapitation of the enemy general Holofernes. The libretto posed many challenges for the 15-year-old composer: to name a few, the heroine does not make her appearance until well over half an hour into the music; the recitatives are complex, with intricate dialogues and the central event of the plot, Judith's story of how she happened to return home bearing Holofernes' severed head, told in one of them; and the characters are sharply delineated, with some of the despairing Israelites counseling surrender. Mozart surmounted these challenges brilliantly, and perhaps more than any other of his early works, this one points the way to the adult genius. Only the unconvincing conclusion points to Mozart's youth. Director Christophe Rousset and Les Talens Lyriques deliver a performance that catches the leaps and bounds Mozart was making here. The instrumental ensemble and the chorus Accentus are generously sized by contemporary standards, and they realize the large dimensions in which Mozart was thinking. Rousset's soloists, especially Teresa Iervolino in the title role and Pablo Bemsch as the Israelite prince Ozia, vividly realize the characters; only the voice of Sandrine Piau, as the noblewoman Amital, shows strain. Perhaps the definitive recording of Betulia Liberata, this reading is enhanced by excellent engineering from the Little Tribeca team.
© TiVo
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Album review
Betulia Liberata, K. 118, premiered in 1771, was called an azione sacra. Essentially it is an oratorio, Mozart's only one, but its libretto by Pietro Metastasio has strongly operatic qualities; there are few choruses, and those that exist are part of the action, not commentaries. The story is based on the biblical tale of the Israelite heroine Judith and her seduction and then decapitation of the enemy general Holofernes. The libretto posed many challenges for the 15-year-old composer: to name a few, the heroine does not make her appearance until well over half an hour into the music; the recitatives are complex, with intricate dialogues and the central event of the plot, Judith's story of how she happened to return home bearing Holofernes' severed head, told in one of them; and the characters are sharply delineated, with some of the despairing Israelites counseling surrender. Mozart surmounted these challenges brilliantly, and perhaps more than any other of his early works, this one points the way to the adult genius. Only the unconvincing conclusion points to Mozart's youth. Director Christophe Rousset and Les Talens Lyriques deliver a performance that catches the leaps and bounds Mozart was making here. The instrumental ensemble and the chorus Accentus are generously sized by contemporary standards, and they realize the large dimensions in which Mozart was thinking. Rousset's soloists, especially Teresa Iervolino in the title role and Pablo Bemsch as the Israelite prince Ozia, vividly realize the characters; only the voice of Sandrine Piau, as the noblewoman Amital, shows strain. Perhaps the definitive recording of Betulia Liberata, this reading is enhanced by excellent engineering from the Little Tribeca team.
© TiVo
About the album
- 1 disc(s) - 32 track(s)
- Total length: 02:11:48
- 1 Digital booklet
- Main artists: Les Talens Lyriques Christophe Rousset Sandrine Piau Teresa Iervolino
- Composer: Wolfgang Amadeus Mozart
- Label: Aparté
- Genre: Classical
2020 Little Tribeca - Les Talens Lyriques 2020 Little Tribeca - Les Talens Lyriques
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