Recorded in 1974 with modern instruments but with a fine Baroque sensibility (Jeffrey Tate is the always audible, almost aggressive harpsichordist), Vivaldi’s only (extant) oratorio has since received better performances, but this one still stands up nicely. The story of Judith, who saves the Jewish people from obliteration by beheading Holofernes (who is the, um, head of Nebuchadnezzar’s forces) is a juicy one, and although nearly all of the arias are da capo, Vivaldi scores them interestingly enough, with many obbligato instrumental parts (an aria accompanied by two mandolins is a real treat) and varied rhythms and attitudes.
This all-female cast (correctly following Vivaldi’s scoring) under Vittorio Negri is very good, with Birgit Finnilä a fine, knowing Judith and Julia Hamari a theatrical Holofernes. Soprano Elly Ameling sings Holofernes’ servant with fluency and lovely tone, and the other two women, with less to do, are good enough. Da capo sections of arias are embellished delicately. Orchestra and chorus play and sing energetically and the recording is bright and vivid. A version on Hyperion under Robert King, with period instruments, is better in most ways, but this one is a bargain (even without texts and translations).
