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Betulia Liberata
Wolfgang Amadeus Mozart

L'Orfeo Barockorchester / Michi Gaigg

Betulia Liberata

Price: € 16.95
Format: SACD hybrid
Label: Challenge Classics
UPC: 0608917259025
Catnr: CC 72590
Release date: 28 June 2013
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Label
Challenge Classics
UPC
0608917259025
Catalogue number
CC 72590
Release date
28 June 2013

"Mitchi Gaigg's exploration of the azione sacra Betulia liberata is the latest addition to what is turning out to be something of a purple patch for recording the early Mozart. "

Gramophone, 31-1-2014
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Artist(s)
Composer(s)
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About the album

"Betulia liberata" (The liberated Bethulia) seems to be the least known among Wolfgang Amadeus Mozart’s larger stage works, be it secular or sacred, composed during his youth. The libretto was printed twice during 1771 in Padua.

The script is based on a sacred drama, an aziona sacra, by the aged Habsburg court poet, Pietro Metastasio (1698-1782), first set to music by Georg Reutter the Younger (1708-1772) and performed during the Holy Week in 1734. Metastasio’s "Betulia liberata" is based on the story told in the Old Testament book of Judith: the Assyrians, commanded by Holofernes, tried to besiege the city of Bethulia. Even though the city of Bethulia was fictitious and the Assyrians were at the most Babylonians – the story nevertheless deals, once again, with the people of Israel and their unwavering faith in God who alone can redeem them from a hostile invasion. Achior, ruler of the Ammonites and ally to the Assyrians, dares to remind Oloferne (Holofernes) that the Bethulians were invincible as long as their faith was steadfast. This enrages Oloferne and he orders Achior to be tied to a tree near Bethulia. This is where he is found by Carmi, a Bethulian councillor, and taken hostage. In Bethulia, joined by Ozìa, ruler of Bethulia and Amital, a noble lady, he witnesses Giuditta’s (Judith’s) courage and unwavering faith. Following a divine plan she ventures to the army camp of the enemy.
Het minst bekende toneelwerk van Mozart gespeeld op originele instrumenten
Betulia liberata is het minst bekende grootschalige toneelwerk van Wolfgang Amadeus Mozart. Het is gecomponeerd tijdens zijn jeugd. Het script is gebaseerd op een geestelijk drama (aziona sacra). Het is geschreven door de Habsburgse hofdichter Pietro Metastasio. Alleen al in Wenen is het minstens acht keer op muziek gezet.

De jonge Mozart weet het drama goed over te brengen, ook al ligt de nadruk van het script op het vertellen van het verhaal, in plaats van de dramatische gebeurtenissen. Zijn muziek is koppig, riskant en jeugdig. Dankzij zijn rijke kennis van muzikale retorica zijn de vocale partijen verbeterd, en hebben de soms lastige partijen voor de strijkers en blazers een vollere klank.

Betulia liberata vertelt het verhaal uit het boek Judith van het Oude Testament. Achior, heerser van de Ammonieten en bondgenoot van de Assyriërs, herinnert Oloferne eraan dat de inwoners van Bethulia onkwetsbaar zijn zolang hun geloof standvastig is. Oloferne wordt woedend, en draagt op om Achior vast te binden aan een boom in de buurt van Bethulia. Daar wordt Achior gegijzeld door Carmi, een raadslid uit Bethulia. In Bethulia is hij getuige van de moed en het onwrikbare geloof van Judith, die naar het kamp van de vijand afreist volgens een goddelijk plan.

Sinds zijn oprichting in 1996 aan de Anton Bruckner Private University in Linz heeft L’Orfeo Barockorchester zich ontwikkeld tot een toonaangevend ensemble op het gebied van historische uitvoeringen. Daarnaast zijn de solisten waarmee het ensemble op dit album samenwerkt ook specialisten op dit gebied.
Das einmalige L'Orfeo Barockorchester mit seiner Dirigentin Michi Gaigg erweckt Mozarts Jugend-Oper zu neuem Leben.

Betulia Liberata – Mozarts Jugendwerk entstand nach einer Italienreise im Jahre 1771. Der erst 15-jährige Komponist setzt in seiner Oper die alttestamentarische Geschichte von Judit (Giuditta) und ihrem festen Glauben an Gott um. Dieses geistliche Drama wird in großen Teilen nur in erzählter, also rezitativischer Form wiedergegeben. Mozarts Einfallsreichtum auf gesangs- und instrumentaltechnischer Ebene ist ebenso erstaunlich wie wirkungsvoll. Michi Gaigg und das renommierte L’Orfeo Barockorchester entdecken gemeinsam mit den versierten Solisten ein hochdramatisches und anspruchsvolles Werk neu.
<La Betulia liberata pare essere il meno conosciuto. Anche la documentazione scritta su questa «azione sacra» è scarsa. Tra questa troviamo una lettera di Leopold Mozart scritta a Vicenza il 14 marzo 1771, nel corso del suo primo viaggio in Italia con il figlio, e indirizzata alla moglie a Salisburgo: «Abbiamo visto a Padova quel che era possibile vedere in un giorno, perché anche qui non abbiamo avuto pace e il Wolfg. ha dovuto suonare in due posti. Ha ricevuto però anche una commissione, dal momento che deve comporre un oratorio per Padova, e può farlo quando ne avrà occasione. Il libretto si basa su una «azione sacra» del poeta cesareo Pietro Metastasio (1698-1782), messo in musica per la prima volta da Georg Reutter Il Giovane (1708-1772) ed eseguito durante la Settimana Santa del 1734. La Betulia liberata di Metastasio si basa sulla vicenda raccontata nel Libro di Giuditta dell’Antico Testamento.

In questa fase della sua carriera Mozart aveva già una buona dose di esperienza nella composizione di opere su testo italiano. Il suo linguaggio musicale è definito, audace e piacevolmente giovanile. La sua profonda conoscenza della retorica musicale valorizza le parti vocali, addolcendo le parti talvolta intricate degli archi e dei fiati>>. Christian Moritz-Bauer, dalle note di copertina

Artist(s)

L`Orfeo Barockorchester

Since its foundation in 1996 at the Anton Bruckner Private University, Linz, the L’Orfeo Barockorchester has developed into one of the leading ensembles for historical performance practice today. The synthesis of standard repertoire and pioneering work is a trademark of L’Orfeo’s concert programmes and CD’s. In addition L’Orfeo has also proved itself an outstanding orchestra for stage works (CD releases: Orpheus oder Die wunderbare Beständigkeit der Liebe by Georg Philipp Telemann; Joseph Haydn’s Die wüste Insel/The desert Island). The orchestra leaves a mark time and again with its discography ranging from French Baroque suites through Sturm und Drang sinfonias to Classical and Early Romantic repertoire. Among its many releases are several premiére recordings. Various prizes have been awarded e.g. by Diapason, Pizzicato (“Supersonic...
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Since its foundation in 1996 at the Anton Bruckner Private University, Linz, the L’Orfeo Barockorchester has developed into one of the leading ensembles for historical performance practice today. The synthesis of standard repertoire and pioneering work is a trademark of L’Orfeo’s concert programmes and CD’s. In addition L’Orfeo has also proved itself an outstanding orchestra for stage works (CD releases: Orpheus oder Die wunderbare Beständigkeit der Liebe by Georg Philipp Telemann; Joseph Haydn’s Die wüste Insel/The desert Island).
The orchestra leaves a mark time and again with its discography ranging from French Baroque suites through Sturm und Drang sinfonias to Classical and Early Romantic repertoire. Among its many releases are several premiére recordings. Various prizes have been awarded e.g. by Diapason, Pizzicato (“Supersonic Award”), Le Monde de la Musique, Fono Forum, Radio Österreich 1 (“Pasticcio Prize”), as well as the coveted German music award ECHO Klassik. A high artistic level, colourful playing and an immense sensitivity for sound are aspects confirmed by critics and audiences time and again. Team spirit and a close identification with founder and leader Michi Gaigg form the basis for its artistic success.
Michi Gaigg, conductor The Austrian conductor and leader of the orchestra, Michi Gaigg, was deeply inspired as a student by the lectures given by Nikolaus Harnoncourt at the Salzburg Mozarteum. After completing her violin studies there she commenced learning to play the Baroque violin and studied with Ingrid Seifert and Sigiswald Kuijken.
Michi Gaigg accumulated valuable experience in internationally well-known ensembles such as London Baroque and with conductors such as Frans Brüggen, Alan Curtis, Christopher Hogwood, René Jacobs, Ton Koopman and Hermann Max. Together with Carin van Heerden she founded the L’Orfeo Barockorchester in 1996.
Opera productions are becoming increasingly important in Michi Gaigg’s work. Recently staged works are: Handel’s first opera Almira, Queen of Castille, Georg Philipp Telemann’s Orpheus oder Die wunderbare Beständigkeit der Liebe, Orpheus und Eurydike by Chr. W. Gluck, Zaide by W. A. Mozart, Romeo und Julie by Georg Anton Benda, Joseph Haydn’s Die wüste Insel and a trilogy of early operas by Gioachino Rossini (Il signor Bruschino, La scala di seta und La cambiale di matrimonio).
Michi Gaigg has been teaching at the Institute for Early Music at the Anton Bruckner Private University in Linz since 1993. She is director of the Danube Festival in Strudengau and received two cultural awards by the province of Upper Austria.

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Michi Gaigg (conductor)

The Austrian conductor and leader of the L'Orfeo Barockorchester, Michi Gaigg, was deeply inspired as a student by the lectures given by Nikolaus Harnoncourt at the Salzburg Mozarteum. After completing her violin studies there she commenced learning to play the Baroque violin and studied with Ingrid Seifert and Sigiswald Kuijken. Michi Gaigg accumulated valuable experience in internationally well-known ensembles such as London Baroque and with conductors such as Frans Brüggen, Alan Curtis, Christopher Hogwood, René Jacobs, Ton Koopman and Hermann Max. Together with Carin van Heerden she founded the L’Orfeo Barockorchester in 1996. Opera productions are becoming increasingly important in Michi Gaigg’s work. Recently staged works are: Handel’s first opera Almira, Queen of Castille, Georg Philipp Telemann’s Orpheus oder Die wunderbare Beständigkeit...
more
The Austrian conductor and leader of the L'Orfeo Barockorchester, Michi Gaigg, was deeply inspired as a student by the lectures given by Nikolaus Harnoncourt at the Salzburg Mozarteum. After completing her violin studies there she commenced learning to play the Baroque violin and studied with Ingrid Seifert and Sigiswald Kuijken.
Michi Gaigg accumulated valuable experience in internationally well-known ensembles such as London Baroque and with conductors such as Frans Brüggen, Alan Curtis, Christopher Hogwood, René Jacobs, Ton Koopman and Hermann Max. Together with Carin van Heerden she founded the L’Orfeo Barockorchester in 1996.
Opera productions are becoming increasingly important in Michi Gaigg’s work. Recently staged works are: Handel’s first opera Almira, Queen of Castille, Georg Philipp Telemann’s Orpheus oder Die wunderbare Beständigkeit der Liebe, Orpheus und Eurydike by Chr. W. Gluck, Zaide by W. A. Mozart, Romeo und Julie by Georg Anton Benda, Joseph Haydn’s Die wüste Insel and a trilogy of early operas by Gioachino Rossini (Il signor Bruschino, La scala di seta und La cambiale di matrimonio).
Michi Gaigg has been teaching at the Institute for Early Music at the Anton Bruckner Private University in Linz since 1993. She is director of the Danube Festival in Strudengau and received two cultural awards by the province of Upper Austria.

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Composer(s)

Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School.  At 17, Mozart was engaged as...
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Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. From 1763 he traveled with his family through all of Europe for three years and from 1769 he traveled to Italy and France with his father Leopold after which he took residence in Paris. On July 3rd, 1778, his mother passed away and after a short stay in Munich with the Weber family, his father urged him to return to Salzburg, where he was once again hired by the Bishop. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death.


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Press

Mitchi Gaigg's exploration of the azione sacra Betulia liberata is the latest addition to what is turning out to be something of a purple patch for recording the early Mozart. 
Gramophone , 31-1-2014

Despite excellent singers and a technically very good orchestra, this performance lacks the necessary musical fire, and, at the end, we prefer the old recordings by Peter Maag and Mario Rossi.  
Pizzicato, 17-1-2014

geen quote
www.sonograma.org, 29-11-2013

Michi Gaigg knows how to strike sparks with the fulminant playing L'Orfeo Barockorchester in that ambitious but static Oratorio.
Opernwelt, 01-11-2013

Her focus lies entirely on an expressive, rhetorical approach. This yeilds, in addition to large contrasts, lively dynamics
Luister, 01-11-2013

Negatief 
Written in music, 01-11-2013

Niet een goede recensie
Operanederland, 03-10-2013

The package with hardcover an book is luxury
crescendo, 01-9-2013

she (MIchi Gaigg) knows how to staurate the music of the 18th century with vital freshness
Das Opernglas, 01-7-2013

This complete recording of Mozart's oratorio is a experinence: drama combined with noblesse and perfection.
Das Orchester

Play album Play album
Disc #1
01.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Overtura
04:03
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
02.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Recitativo, 'Popoli di Betulia'
00:55
(Wolfgang Amadeus Mozart) Christian Zenker, L'Orfeo Barockorchester
03.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Aria #1, 'D’ogni colpa la colpa maggiore'
06:29
(Wolfgang Amadeus Mozart) Christian Zenker, L'Orfeo Barockorchester
04.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Recitativo, 'E in che sperar?'
01:50
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
05.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Aria #2, 'Ma qual virtù non cede'
03:03
(Wolfgang Amadeus Mozart) Ulrike Hofbauer, L'Orfeo Barockorchester
06.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Recitativo, 'Già le memorie antiche'
03:31
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
07.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Aria #3, 'Non hai cor'
04:14
(Wolfgang Amadeus Mozart) Marelize Gerber, L'Orfeo Barockorchester
08.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Recitativo, 'E qual pace sperate'
02:45
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
09.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Aria con il Coro #4, 'Pietà, se irato sei'
03:39
(Wolfgang Amadeus Mozart) Christian Zenker, L'Orfeo Barockorchester
10.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Recitativo, 'Chi è costei che qual sorgente aurora'
03:14
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
11.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Aria #5, 'Del pari infeconda'
04:54
(Wolfgang Amadeus Mozart) Margot Oitzinger, L'Orfeo Barockorchester
12.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Recitativo, 'Oh saggia, oh santa'
02:21
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
13.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Aria con il Coro #6, 'Pietà, se irato sei'
03:43
(Wolfgang Amadeus Mozart) Christian Zenker, L'Orfeo Barockorchester
14.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Recitativo, 'Signor, Carmi a te viene'
03:16
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
15.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Aria #7, 'Terribile d’aspetto'
03:49
(Wolfgang Amadeus Mozart) Markus Volpert, L'Orfeo Barockorchester
16.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Recitativo, 'Ti consola, Achior'
03:13
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
17.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Aria #8, 'Parto inerme, e non pavento'
05:46
(Wolfgang Amadeus Mozart) Margot Oitzinger, L'Orfeo Barockorchester
18.
Betulia liberata, Azione sacra in due parti, KV 118, Parte prima: Coro #9, 'Oh prodigio! Oh stupor!'
02:14
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester

Disc #2
01.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Recitativo, 'Troppo mal corrisponde'
05:43
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
02.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Aria #10, 'Se Dio veder tu vuoi'
07:16
(Wolfgang Amadeus Mozart) Christian Zenker, L'Orfeo Barockorchester
03.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Recitativo, 'Confuso io son'
01:28
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
04.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Aria #11, 'Quel nocchier che in gran procella'
06:31
(Wolfgang Amadeus Mozart) Marelize Gerber, L'Orfeo Barockorchester
05.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Recitativo, 'Lungamente non dura'
09:32
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
06.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Aria #12, 'Prigionier che fa ritorno'
05:41
(Wolfgang Amadeus Mozart) Margot Oitzinger, L'Orfeo Barockorchester
07.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Recitativo, 'Giuditta, Ozìa, popoli, amici'
01:13
(Wolfgang Amadeus Mozart) Markus Volpert, L'Orfeo Barockorchester
08.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Aria #13, 'Te solo adoro'
03:50
(Wolfgang Amadeus Mozart) Markus Volpert, L'Orfeo Barockorchester
09.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Recitativo, 'Di tua vittoria'
00:50
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
10.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Aria #14, 'Con troppa rea viltà'
05:59
(Wolfgang Amadeus Mozart) Marelize Gerber, L'Orfeo Barockorchester
11.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Recitativo, 'Quanta cura hai di noi'
02:51
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
12.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Aria #15, 'Quei moti che senti'
02:01
(Wolfgang Amadeus Mozart) Barbara Kraus, L'Orfeo Barockorchester
13.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Recitativo, 'Seguansi, o Carmi'
00:56
(Wolfgang Amadeus Mozart) L'Orfeo Barockorchester
14.
Betulia liberata, Azione sacra in due parti, KV 118, Parte seconda: Aria con il Coro #16, 'Lodi al gran Dio'
05:59
(Wolfgang Amadeus Mozart) Margot Oitzinger, L'Orfeo Barockorchester
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