La Betulia liberata (Metastasio)
| Work data | |
|---|---|
| Title: | La Betulia liberata |
Title page of the libretto from 1743 |
|
| Shape: | Azione sacra |
| Original language: | Italian |
| Music: | First setting by Georg Reutter |
| Libretto : | Pietro Metastasio |
| Literary source: | Book of Judit |
| Premiere: | April 8, 1734 |
| Place of premiere: | Vienna |
| Place and time of the action: | Betulia, biblical time |
| people | |
La Betulia liberata is a libretto for an azione sacra in two parts by Pietro Metastasio . It is the fifth of his seven oratorio libretti written in Vienna and has been set to music about 50 times. It was performed for the first time in the setting by Georg Reutter on April 8, 1734 in the Hofburg Chapel in Vienna. The best-known setting comes from Wolfgang Amadeus Mozart (→ La Betulia liberata ).
A German translation of the libretto was published in Augsburg in 1753 and 1766 as a spoken drama with the name Die heldenmüthige Judith, or the saved Bethulien in the clerical stage of the Augustinian Peter Obladen from Ulm.
action
The plot is based on the second to sixth chapters of the Book of Judith , a deuterocanonical or apocryphal book of the Old Testament . During the siege of the Israelite city of Betulia by the Assyrian army of Nebuchadnezzar II , the pious widow Judit goes unarmed into the enemy camp and beheads General Holofernes with his own sword. This is how she manages to save the city.
First part
In a speech, Ozía tries to encourage the people in the beleaguered Betulia. The Israelite Amital, however, doubts the possibility of rescue. The own soldiers are completely starved and the friendly neighboring peoples have already been subjugated. God himself obviously turned against them. The People's Captain Cabri reports on the chaos in the city and the discouragement of the residents. Ozía, however, recalls the earlier benefits of God. For him it is already a good sign that Holofernes has not yet stormed the city. Amital accuses Ozía of not having made peace with the Assyrians. Even if they should show no mercy, death by the sword would be better than dying of thirst in agony. One should finally give up and open the city gates.
The people rise to flee the city. Ozía manages to put them off for another five days. Together with the people, he asked God to show mercy in punishing their sins, so that the Gentiles would not think that He has abandoned them. At that moment the pious widow Judit approaches, who had been in seclusion since her husband's death four years ago.
Judit is appalled by the decision to open the city gates to the enemy after five days and accuses the others of having lost the right balance between fear and hope. Impressed by her speech, Ozía urges her to take the lead. Judit advises trusting in God and patiently enduring the tribulations. God does not want to oppress his people, but only to test their loyalty, as he already did with Abraham , Isaac , Jacob and Moses . She says that God gave her a plan and asks the others to support her with their prayers.
Carmi, another captain of the people, brings the captive prince of the Ammonites , Achior, whom the enemies had left tied to a tree near the city. Holofernes had asked him to explain the reason for the persistence of the Israelites. He then told him the story of the people and ended it by pointing out that God himself would fight for them if they had remained faithful to him. Only if they were to be unfaithful to him would their opponents have a chance of victory. Holofernes was angry and sent him to Betulia to share the fate of the inhabitants. Ozìa promises Achior his friendship and lets him lead him into his house. Amital, Carmi and Cabri also leave.
Judit returns. She has replaced her mourning clothes with splendid robes and carefully adorned herself. She asks Ozía to open the gates so that she can leave town accompanied by her maid. In the final chorus of the first part, the residents of Betulia marvel at their courage.
Second part
Ozía has a theological dispute with Achior. He has already announced that he wants to worship the Jewish God. But he does not want to give up the gods of his own people. Ozía explains to him that this is not possible because there is only one God. He proves this to him by means of reason: if there were several gods, there would be limits to each one of them. They would no longer be omnipotent and therefore no longer gods. The one God of the Israelites, on the other hand, is incomprehensible because he is not subject to anyone and is not subject to any restrictions. God be in everything and he can best be found in one's heart. Achior's doubts, however, have not yet been completely overcome.
Amital asks Ozía the reason for the unusual calm that has returned to Betulia. She compares it to the calm before a storm and does not believe in Judit's rescue.
Judit returns to the city and calls on the inhabitants to praise God for having triumphed by their hand. After she left Betulia, she was arrested by enemy scouts and Holofernes was brought before her. She told him part of her story and was then invited to a festive meal, at which Holofernes got drunk. After all, she was left alone with him. After he fell asleep, she said a prayer, took his sword and cut off his head. She then wrapped his head in a curtain and gave it to her maid. They then returned to Betulia unmolested. Achior recognizes the head of Holofernes. After a first shock, he is now completely convinced of the truth of the Israelite faith. Amital also admits her guilt and regrets her lack of trust.
Cabri reports that the enemies have now been completely defeated. The Israelites faked an attack, whereupon the Assyrians ran to the tent of Holofernes and found his body. They then fled and killed each other in the confusion. All praise Judit's act. This, however, means that it only acted as an instrument of God. Hence, he alone deserves glory. In the final chorus, the entire people picks up on this in praise to God.
history
The libretto is Metastasio's response to the dramatic foreign policy situation of 1733/34. During the War of the Polish Succession , the army of Karl Emanuel III invaded . from Savoy into Lombardy and Milan and defeated the Austrian army a. a. at Parma. It was under these impressions that Metastasio deviated from his earlier works in the theme of his new oratorio. Instead of addressing the dilemma between duty and willing as usual, he tried to put the audience on the side of the ruler and recalled the successfully averted Turkish siege of 1683, the victory at Petrovaradin in 1716 and the siege and conquest of Belgrade by Prince Eugene in 1717. In order to raise the population, the fear in the libretto is criticized even more than in the biblical original.
layout
The seven Viennese oratorios Metastasios follow those of his predecessor Apostolo Zeno . Simplicity and clarity in the structure are predominant. Metastasio dispensed with divine and allegorical persons within the plot and stuck to the three Aristotelian units of space, time and action. Therefore, many passages are only told in retrospect. His theological interpretations adhere strictly to the exegetical guidelines of the church. In many places he gave evidence in the form of biblical passages and quotations from writings by church teachers. As in his opera libretti, the action is presented in recitatives that lead to da capo arias. Ensemble pieces and choirs are only used sparingly.
The philosophical discourse between Ozía and Achior at the beginning of the second part is of central importance. It corresponds to the concern of the Enlightenment , to lead people through reason to the "light" of knowledge. Metastasio mediates here between Christianity and rationalism. Despite original sin , it is possible for man to know God with the help of reason. However, true repentance is only possible with the help of divine grace.
Compared to the biblical model, Metastasio upgraded some minor characters. Ozía stands for the "theological voice of the oratorio" and takes on the role of the priest Eljakim. Achior is the "rational Gentile" who deserves to be converted to the right faith. Achior is in contrast to Holofernes. The theological discourse of the two does not come from the biblical model. Cabri speaks for the people and the Amital added by Metastasio for the desperate mothers and the lack of trust in God. Your retreat at the end has a role model effect.
The philosophical proof of God in the dialogue between Ozía and Achior earned Metastasio the honorary title "Il poeta filosofo" ("the philosophical poet"). In later arrangements, however, the philosophically and theologically determined text passages were often shortened (e.g. in Jommelli, Holzbauer or Anfossi). The same applies to some modern performances of Mozart's originally completely set to music.
Settings
The following composers set this libretto to music:
| year | composer | premiere | Performance location | Remarks | |
|---|---|---|---|---|---|
| 1734 | Georg Reutter | April 8, 1734, Hofburg Chapel | Vienna | "Azione sacra"; also in Vienna in 1735 and 1740 | |
| 1737 | Benedetto Leoni | 1737, Congregazione di San Filippo Neri | Genoa | ||
| 1738 | Andrea Bernasconi | Lent 1738 | Vienna | "Dramma sacro"; The part of Carmi has been removed and his verses distributed among Amital, Cabri and Ozía; revised on March 30, 1754 in the Munich court orchestra; during Lent 1760 and 1775 in Munich; 1762 in Baden |
|
| 1740 | Charles Sodi | 1740 | |||
| 1743 | Niccolò Jommelli | 1743, Congregazione di San Filippo Neri | Venice | abridged version of the libretto; also in Rome in 1743; in March 1750 in the Congregazione di San Filippo Neri in Bologna; 1757 in Castel San Pietro; on February 25, 1768 at the King's Theater on the Haymarket , London; 1785 in Venice |
|
| 1743 | Giovanni Nicola Ranieri Redi | 1743 | Florence | Grove Music Online lists the composer as “Matini”. Piero Matini, however, was only the publisher. | |
| 1746 | Baldassarre Angelini | November 22, 1746, oratorio di S. Filippo Neri | Perugia | also on May 23, 1748 in S. Francesco in Perugia. | |
| 1746 | Pasquale Cafaro | 1746 | Naples | ||
| 1747 | Vincenzo Ciampi | 1747 | Venice | as Bethulia liberata | |
| 1756 | Antonio Aurisicchio | 1756, oratorio dei Padri di S. Girolamo della Carità | Rome |
|
|
| 1760 | Ignaz Holzbauer | April 4, 1760, Cappella elettorale Palatina | Mannheim | probably also in Vienna in 1761; the libretto was significantly shortened, especially in the philosophical discourses |
|
| 1760 | Giovanni Bonaventura Matucci | 1760 | |||
| 1767 | Giovanni Ricci | 1767 | Ascoli | ||
| 1768 | Giuseppe Scolari | 1768 | Lisbon | "Opera drammatica" | |
| 1771 | Giuseppe Calegari | 1771 | Padua | ||
| 1771 |
Wolfgang Amadeus Mozart → La Betulia liberata |
probably 1772 | "Azione sacra", KV 74c; complete setting of the libretto without cuts; also listed in 1786 |
||
| 1771 | Josef Mysliveček | 1771 | Padua | ||
| 1772 | Florian Leopold Gassmann | March 19, 1772, Tonkünstlersozietät | Vienna | "Cantata"; also in Vienna in 1776 | |
| 1773 | Jacob Schuback | 1773 | also German as Die Rettung Bethuliens | ||
| 1774 | Johann Nikolaus Franz Seydelmann | 1774, court chapel | Dresden | ||
| 1774 | Domenico Corri | February 18, 1774, Musical Society | Edinburgh | ||
| 1775 | Gennaro Manna | 1775 | in Latin as Judith seu Bethuliae ab obsidione liberatio | ||
| 1776 | Gianfrancesco Almerici | 1776 | Pesaro | ||
| 1776 | Antonio Pio | 1776 | |||
| 1780 | Felice Alessandri | 1780 | Venice | also in Padua in 1781 | |
| 1780 | Nicola Sala | 1780 | Naples | in Latin as Judith seu Bethuliae liberatio - Giuditta, ossia la Betulia liberata | |
| 1780 | Johann Michael Demmler | 1780, Catholic school house near Sankt Salvator | augsburg | in German as "Judith, or the relief of Bethuliens" | |
| 1780 | Gaetano Pugnani | probably 1780s | |||
| 1781 | Pasquale Anfossi | 1781 | also in Rome in 1785; abridged version of the libretto |
||
| 1781 | Giuseppe Morosini | 1781 | Vienna | ||
| 1783 | Pietro Pompeo Sales | 1783, court chapel of the elector | Ehrenbreitstein | ||
| 1783 | Mattia Stabingher | March 26, 1783, Petrovsky Theater | St. Petersburg | ||
| 1786 | Francesco Piticchio | 1786 | Vienna | serious changes to the libretto, as well as cuts to the recitatives, the arias are also affected | |
| 1787 | Andrea Favi | 1787 | |||
| 1787 | Joseph Schuster | 1787 | also in Dresden in 1796 |
|
|
| 1790 | Bonaventure Furlanetto | 1790, Ospedale della Pieta | Venice | as Bethulia liberata | |
| 1791 | Pietro Alessandro Guglielmi | 1791, Teatro del Fondo di Separazione | Naples | edited by Fiori as Il trionfo di Giuditta, ossia La morte di Oloferne ; also in 1795 in the Teatro della Pergola in Florence |
|
| 1791 | Antonio Brunetti | May 11, 1791 | Chieti | also on May 11, 1792 and 1793 in Chieti; on 27-29 August 1799 in Tagliacozzo | |
| 1794 | Sebastiano Nasolini | February 2, 1794, Oratorio di S. Filippo Neri | Florence | "Componimento drammatico" | |
| 1796 | Giuseppe Giordani | May 8, 1796, Teatro della Fenice | Ancona | ||
| 1805 | Natale Mussini | January 27, 1806, Concert Hall of the Royal National Theater | Berlin | as That liberated Bethulien | |
| 1805 | Johann Gottlieb Naumann | April 13, 1805 (posthumously), court orchestra | Dresden |
|
|
| 1820 | Antonio Salieri | 1821 | Vienna | Adaptation (abbreviation) of the oratorio by Florian Leopold Gassmann on the occasion of the 50th anniversary of the foundation of the Tonkünstler-Sozietät | |
| unknown | Agostino Fontana | unknown | |||
| unknown | Giacomo Francesco Milano Franco d'Aragona | unknown, Biblioteca Comunale | Polistena | also as Giuditta |
Recordings and performances in recent times
-
Florian Leopold Gassmann :
- 2003 Performance of a cross section in the old cathedral in Linz and CD with the Ensemble NovAntique Linz under the direction of Mario Aschauer . Soloists: Illich, Scheibelreiter, Rath, Gruber, Sawabu, Helm.
-
Niccolò Jommelli :
- 2010: Performances together with the version by Wolfgang Amadeus Mozart at the Salzburg Whitsun Festival ( Felsenreitschule ) and at the Ravenna Festival (Basilica Sant'Apollinare in Classe ) with the Orchestra Giovanile Luigi Cherubini and the Philharmonia Choir Vienna under the direction of Riccardo Muti . Singers: Terry Wey (Ozìa), Laura Polverelli (Giuditta), Dmitry Korchak (Carmi), Vito Priante (Achior).
-
Wolfgang Amadeus Mozart :
- Many performances and recordings (→ La Betulia liberata ).
-
Johann Gottlieb Naumann :
- 2004: CD with the baroque orchestra Das Kleine Konzert and the Rheinische Kantorei Dormagen under the direction of Hermann Max . Singers: Harry van der Kamp (Achior), Salomé Haller (Amital), Hans Jörg Mammel (Carmi), Nele Gramß (Giuditta), Markus Schäfer (Ozia).
-
Gaetano Pugnani :
- 2012: Performance at the Festival Terras sem Sombra in the Alentejo in the Basilica Real di Castro Verde (Portugal) with the Orchestra Sinfonica Portoghese under the direction of Donato Renzetti. Singers: Raquel Alão, Carmen Romeu, Mikeldi Atxalandabaso, Marifé Nogales, Mário João Alves, Luís Rodrigues.
-
Nicola Sala :
- 2007: Performance at the SanniOpera Festival in the Teatro Romano in Benevento with the Orchestra Sinfonica Éufoniarchè under the direction of Francesco Lanzillotta. Singers: Daniela Del Monaco (Yudith), Irma Culicigno (Ozia), Emy Gasparetto (Chabri), Gianluca Bocchino (Carmi).
literature
- Elisabeth Birnbaum: The Judit book in Vienna of the 17th and 18th centuries. Peter Lang, 2009, pp. 184–227 ( partly online at Google Books ).
Web links
Digital copies
- ^ Libretto (Italian). Digitization of the Munich digitization center . In: Opere del signor abate Pietro Metastasio , Volume 6, Herissant, Paris 1780, p. 323 ff.
- ↑ a b Peter Obladen: Die heldenmüthige Judith, or the errettete Bethulien (German translation of the libretto). In: Geistliche Schaubühne. Second improved edition. Matthäus Rieger and Sons, Augsburg and Leipzig 1766. Digitization of the Munich digitization center , p. 125.
- ^ Libretto (Italian) of the oratorio by Andrea Bernasconi, Munich 1754. Digitized version of the Munich digitization center .
- ↑ Libretto (Italian / German) of the oratorio by Andrea Bernasconi, Baden 1762. Digitized version of the Zurich Central Library .
- ^ Libretto (Italian) of the oratorio by Niccolò Jommelli, Rome 1743. Digitized version of the Munich digitization center .
- ^ Libretto (Italian) of the oratorio by Niccolò Jommelli, Castel San Pietro 1757. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Score of the oratorio by Niccolò Jommelli. Digitized in the International Music Score Library Project .
- ↑ Score of the oratorio by Pasquale Cafaro. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the oratorio by Antonio Aurisicchio, Rome 1756. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Score of the oratorio by Wolfgang Amadeus Mozart, Breitkopf & Härtel, Leipzig 1883. Digitized in the International Music Score Library Project .
- ↑ Score of the oratorio by Jakob Schuback. Digitized at the Berlin State Library .
- ↑ Score of the oratorio by Gaetano Pugnani. Digitized in the International Music Score Library Project .
- ^ Libretto (Italian) of the oratorio by Pasquale Anfossi, Rome 1785. Digitized in the Internet Archive .
- ^ Libretto (Italian / German) of the oratorio by Joseph Schuster, Dresden 1796. Digitized version of the Munich digitization center .
- ^ Libretto (Italian) of the oratorio by Pietro Alessandro Guglielmi, Naples 1791. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ^ Libretto (Italian) of the oratorio by Pietro Alessandro Guglielmi, Florence 1795. Digitized in the Museo internazionale e biblioteca della musica di Bologna .
- ↑ Score of the oratorio by Pietro Alessandro Guglielmi. Digitized in the Internet Culturale portal .
- ↑ Libretto (Italian / German) of the oratorio by Johann Gottlieb Naumann, Dresden 1805. Digitized version of the Munich digitization center .
Individual evidence
- ↑ a b c d e f g h i j k l m n o p q Don Neville: Metastasio [Trapassi], Pietro (Antonio Domenico Bonaventura). In: Grove Music Online (English; subscription required).
- ↑ Metastasio, Pietro in Die Musik in Geschichte und Gegenwart , p. 50861 ff (cf. MGG vol. 9, p. 229 ff.) Bärenreiter-Verlag 1986 ( digital library volume 60).
- ↑ Birnbaum p. 187
- ↑ a b Birnbaum p. 230
- ↑ Birnbaum p. 186
- ↑ Birnbaum p. 214
- ↑ Birnbaum p. 192
- ↑ Birnbaum p. 211
- ↑ Birnbaum p. 227 f
- ^ La Betulia liberata (Georg Reutter) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Georg Reütter) in the Corago information system of the University of Bologna , accessed on April 29, 2015.
- ↑ a b Birnbaum p. 220
- ↑ a b Review of the historical-critical new edition of the oratorio by Pasquale Anfossi on pietrometasio.com (Italian) , accessed on June 3, 2015.
- ↑ La Betulia liberata (Andrea Bernasconi) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Andrea Bernasconi) in the Corago information system of the University of Bologna , accessed on April 29, 2015.
- ↑ Betulia liberata (Charles Sodi) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed May 23, 2015.
- ↑ La Betulia liberata (Niccolò Jommelli) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ La Betulia liberata (Niccolò Jommelli) in the Corago information system of the University of Bologna , accessed on April 29, 2015.
- ↑ a b Birnbaum p. 227
- ^ Library dataset of the oratorio by Niccolò Jommelli in the catalog of the Eichstätt-Ingolstadt University Library, accessed on April 30, 2015.
- ↑ Data set of the oratorio by Niccolò Jommelli (1785) at librettodopera.it , accessed on April 8, 2018.
- ↑ Product details for the critical new edition of Niccolò Jommelli's oratorio at utorpheus.com , accessed on June 3, 2015.
- ^ Library record of the oratorio by Giovanni Nicola Ranieri Redi in the University of Toronto , accessed on June 3, 2015.
- ^ Library data set for the oratorio by Baldassarre Angelini in the Servizio Bibliotecario Nazionale , accessed on June 3, 2015.
- ^ Dataset of the oratorio by Baldassarre Angelini (1746) at librettodopera.it , accessed on April 8, 2018.
- ^ Dataset of the oratorio by Baldassarre Angelini (1748) at librettodopera.it , accessed on April 8, 2018.
- ↑ La Betulia liberata (Pasquale Cafaro) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Bethulia liberata (Vincenzo Ciampi) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Betulia liberata (Antonio Aurisicchio) in the Corago information system of the University of Bologna , accessed on April 29, 2015.
- ↑ La Betulia liberata (Ignaz Holzbauer) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Birnbaum p. 221
- ↑ Topic Judith / Holofernes on klassikthemen.net ( memento from June 7, 2015 in the web archive archive.today ).
- ^ Record of the oratorio by Giovanni Ricci at librettodopera.it , accessed on April 8, 2018.
- ↑ La Betulia liberata (Giuseppe Scolari) in the Corago information system of the University of Bologna , accessed on April 29, 2015.
- ^ Library dataset of the oratorio by Giuseppe Calegari at the Mozarteum Foundation Salzburg, accessed on February 22, 2016.
- ↑ La Betulia liberata (Wolfgang Amadeus Mozart) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata, K 74c (Wolfgang Amadeus Mozart) in the Corago information system of the University of Bologna , accessed on April 29, 2015.
- ↑ Birnbaum p. 223
- ↑ Betulia liberata (Josef Myslivecek) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Florian Leopold Gassmann) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Florian Leopold Gassmann) in the Corago information system of the University of Bologna , accessed on April 29, 2015.
- ↑ La Betulia liberata (Jakob Schuback) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ La Betulia liberata (Johann Nikolaus Franz Seydelmann) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library dataset of the oratorio by Domenico Corri in the catalog of the Eichstätt-Ingolstadt University Library, accessed on April 30, 2015.
- ↑ Gennaro Manna on haendel.it (Italian) , accessed on June 4, 2015.
- ↑ La Betulia liberata (Gianfrancesco Almerici) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Sven Hansell, Marita P. McClymonds: Alessandri, Felice. In: Grove Music Online (English; subscription required).
- ↑ La Betulia liberata (Felice Alessandri) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Giuditta, overo La Betulia liberata (Nicolò Sala) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Score of the oratorio by Nicola Sala. Digitized in the Internet Culturale portal .
- ^ Hermann Abert, Stewart Spencer: WA Mozart. Yale University Press, 2007, p. 207 ( online at Google Books ).
- ^ Judith, or The Relief of Bethulia (Johann Michael Demmler) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed June 4, 2015.
- ↑ Betulia liberata (Gaetano Pugnani) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Pasquale Anfossi) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Giuseppe Morosini) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Pietro Pompeo Sales) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Mattia Stabingher) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Anna Giust: Cercando l'opera russa. Feltrinelli Editore ( online at Google Books ).
- ↑ La Betulia liberata (Francesco Piticchio) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Birnbaum p. 224
- ↑ La Betulia liberata (Josef Schuster) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Bethulia liberata (Bonaventura Furlanetto) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La morte d'Oloferne (Pietro Alessandro Guglielmi) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 29, 2015.
- ↑ La Betulia liberata (Antonio Brunetti) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Library record of the oratorio by Antonio Brunetti (1791) in the Servizio Bibliotecario Nazionale , accessed on June 4, 2015.
- ^ Library record of the oratorio by Antonio Brunetti (1792) in the Servizio Bibliotecario Nazionale , accessed on June 4, 2015.
- ^ Library record of the oratorio by Antonio Brunetti (1793) in the Servizio Bibliotecario Nazionale , accessed on June 4, 2015.
- ↑ Nasolini, Sebastiano. In: Dizionario Biografico - Treccani , accessed June 4, 2015.
- ↑ La Betulia liberata (Giuseppe Giordani) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Performance dataset for the oratorio by Natale Mussini in the theater database Berliner Klassik , accessed on June 4, 2015.
- ↑ Betulia liberata (Johann Gottlieb Naumann) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ La Betulia liberata (Antonio Salieri) at opening night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ Carl Ferdinand Pohl: Memorandum on the occasion of the hundredth anniversary of the Tonkünstler-Societät. Vienna 1871, p. 43 ( Online in the Internet Archive ).
- ↑ La Betulia liberata (Agostino Fontana) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ^ La Betulia liberata (Giacomo Francesco Milano Franco d'Aragona) at Opening Night! Opera & Oratorio Premieres , Stanford University, accessed April 28, 2015.
- ↑ Milano Franco d'Aragona, Giacomo Francesco. In: Dizionario Biografico - Treccani , accessed April 28, 2015.
- ↑ CD publications on the website of the singer Mario Aschauer ( page no longer available , search in web archives ), accessed on June 8, 2015.
- ↑ Betulia liberata: la storia di Giuditta nelle interpretazioni di Mozart e Jommelli. Report (Italian) on the Ravenna Festival website ( Memento of March 4, 2016 in the Internet Archive ).
- ↑ Betulia liberata (Jommelli), Salzburg and Ravenna on the website of the Philharmonia Choir Vienna, accessed on November 13, 2017.
- ↑ Johann Gottlieb Naumann. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , Volume 20, p. 11907.
- ^ La Betulia liberata - Festival Terras sem Sombra. Announcement of the performance of the oratorio by Gaetano Pugnani on June 23, 2012 ( memento of March 4, 2016 in the Internet Archive ), accessed on June 4, 2015.
- ↑ Benevento, SanniOpera Festival 2007: il programma , accessed on June 4, 2015.