{"id":22319,"date":"2025-12-18T18:00:43","date_gmt":"2025-12-18T16:00:43","guid":{"rendered":"https:\/\/turunmusiikkijuhlat.fi\/?post_type=tapahtuma&p=22319"},"modified":"2026-11-03T14:42:36","modified_gmt":"2026-11-03T12:42:36","slug":"vivaldi-juditha-triumphans","status":"publish","type":"tapahtuma","link":"https:\/\/turunmusiikkijuhlat.fi\/en\/event\/vivaldi-juditha-triumphans","title":{"rendered":"Vivaldi: Juditha triumphans"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” row_position_desktop=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” centered_text=”true” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” max_width_alignment_desktop=”default” max_width_alignment_tablet=”inherit” max_width_alignment_phone=”inherit” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][image_with_animation image_url=”22327″ image_size=”full” max_width=”100%” max_width_mobile=”default” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default”][\/vc_column][vc_column column_padding=”padding-3-percent” column_padding_tablet=”inherit” column_padding_phone=”padding-5-percent” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#1d4754″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” max_width_alignment_desktop=”default” max_width_alignment_tablet=”inherit” max_width_alignment_phone=”inherit” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”VIVALDI” font_container=”tag:h1|text_align:left|color:%23bc9634″ use_theme_fonts=”yes”][vc_custom_heading text=”JUDITHA TRIUMPHANS” font_container=”tag:h2|text_align:left|color:%23bc9634″ use_theme_fonts=”yes”][vc_custom_heading text=”12.18.2026 | 18:00″ font_container=”tag:h4|text_align:left|color:%23ffffff” use_theme_fonts=”yes”][vc_custom_heading text=”Fuuga, Concert Hall” font_container=”tag:h4|text_align:left|color:%23ffffff” use_theme_fonts=”yes”][nectar_btn size=”medium” open_new_tab=”true” button_style=”regular” button_color_2=”Extra-Color-1″ icon_family=”none” text=”Tickets” margin_top=”30″ margin_right=”15″ url=”https:\/\/liput.musiikkitalofuuga.fi\/fi\/buyingflow\/tickets\/15596\/”][nectar_btn size=”medium” button_style=”regular” button_color_2=”Extra-Color-3″ icon_family=”none” text=”Info” margin_top=”30″ url=”#info” margin_left=”0″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”50px” column_direction=”default” column_direction_tablet=”column_reverse” column_direction_phone=”column_reverse” scene_position=”center” top_padding=”3%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” row_position_desktop=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”padding-5-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#1d4754″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#ffffff” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” max_width_alignment_desktop=”default” max_width_alignment_tablet=”inherit” max_width_alignment_phone=”inherit” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”Program” font_container=”tag:h4|text_align:left|color:%23ffffff” use_theme_fonts=”yes”][vc_column_text max_width=”600″ text_direction=”default”]Julia Lezhneva<\/strong>, soprano (Vagaus)
\nMarianne Beate Kielland<\/strong>, mezzosoprano (Juditha)<\/span>
\nSonja Runje, <\/strong>alto (Holofernes)
\nErika Baikoff, <\/strong>soprano (Abra)
\nArnaud Gluck, <\/strong>countertenor (Ozias)
\nHelsinki Baroque Orchestra<\/strong>
\nSpira Ensemble<\/strong>
\nTurku Conservatory Chamber Choir<\/strong>
\nAapo H\u00e4kkinen<\/strong>, director
\nEsko Kallio<\/strong>, choir coaching<\/p>\n

ANTONIO VIVALDI (1678\u20131741):<\/strong>
\nJuditha triumphans devicta Holofernis barbarie, RV 644 (1716)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” font_color=”#1d4754″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” max_width_alignment_desktop=”default” max_width_alignment_tablet=”inherit” max_width_alignment_phone=”inherit” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_row_inner column_margin=”30px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bottom_padding=”3%” top_padding_phone=”10%” constrain_group_5=”yes” bottom_padding_phone=”10%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”padding-5-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color=”#bc9634″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” gradient_type=”default”][vc_custom_heading text=”Tickets 44\u201359 \u20ac” font_container=”tag:h4|text_align:center|color:%23ffffff” use_theme_fonts=”yes”][vc_custom_heading text=”Duration 2 h 30 min, 1 intermission” font_container=”tag:h4|text_align:center|color:%23ffffff” use_theme_fonts=”yes”][\/vc_column_inner][\/vc_row_inner][vc_column_text text_direction=”default”]Antonio Vivaldi’s<\/strong> Juditha triumphans<\/em> is a radiant masterpiece of Baroque vocal music: a rare gem that combines drama, virtuosity, and poetic beauty into an irresistible whole. Under the baton of Aapo H\u00e4kkinen<\/strong>, the Helsinki Baroque Orchestra <\/strong>brings this Venetian oratorio to life in a concert that celebrates the splendor of the Baroque and Vivaldi’s inexhaustible imagination.<\/p>\n

Juditha triumphans is Vivaldi\u2019s only surviving oratorio and represents the pinnacle of the composer\u2019s vocal output. The arias are full of sparkling coloratura passages and astonishingly beautiful melodies that allow the singers\u2019 skill and expressiveness to shine. Vivaldi’s instrumentation is exceptionally rich and inventive: the orchestra includes mandolins, viola d’amore, and a gamba ensemble, which create a unique, colorful sound world for the work.<\/p>\n

The music of the oratorio glows with both heroic power and sensitivity. Dramatic twists, meditative moments, and brilliant climaxes alternate in a tense atmosphere, keeping the listener captivated from beginning to end. The soloists, Julia Lezhneva, Marianne Beate Kielland, Sonja Runje, Erika Baikoff, and Arnaud Gluck<\/strong>, bring the story to life and add human depth, while the lively sound of the Helsinki Baroque Orchestra supports the whole with bright energy.<\/p>\n

This concert offers a rare opportunity to experience Vivaldi at his best: Baroque drama, virtuosity, and the composer’s boundless imagination come together in one sparkling evening. Juditha triumphans is a living, breathing musical experience that charms, moves and lingers in the memory for a long time to come.<\/p>\n

Ticket sales for concerts at Fuuga are handled through Kulttuuriranta\u2019s ticket sales.<\/em>[\/vc_column_text][toggles style=”minimal”][toggle color=”Accent-Color” heading_tag=”h6″ heading_tag_functionality=”default” title=”Introduction of works”][vc_column_text text_direction=”default”]Victorious Venice and the special forces of the Piet\u00e0<\/strong><\/p>\n

Juditha triumphans devicta Holofernis barbarie <\/em>(Victorious Judith defeats the barbarian Holofernes) is one of Antonio Vivaldi\u2019s most popular and artistically acclaimed large-scale sacred works, alongside the Magnificat<\/em> and Gloria<\/em>. Vivaldi composed the oratorio for the musicians and music students of the Ospedale della Piet\u00e0. The Piet\u00e0 was one of Venice\u2019s four ospedali, or \u201ccare homes\u201d: an institution for abandoned and foundling children, including those whose births were kept secret, and a music school for girls. Vivaldi worked there as a teacher of violin and viola (the viola all\u2019inglese) from 1703 to 1709 and again from 1711 to 1716, as well as serving intermittently as principal composer (maestro de concerti) from 1713 to 1740.<\/p>\n

The Piet\u00e0\u2019s accomplished figlie di coro<\/em> consisted exclusively of women and girls. They gave the oratorio its premiere in late 1716 or early 1717, at a time of intense political activity in Venice. The war against the Ottomans was underway. The Venetian fleet was fighting alongside the Habsburgs, and the Christian alliance had just secured temporary victories in the Peloponnese and the Aegean Sea, including the Battle of Corfu. The music, too, reflected a surge of patriotic fervour. The Old Testament story of Judith, the Jewish heroine who defeats the pagan Assyrians by beheading their military commander, was ideally suited to the occasion.<\/p>\n

Giacomo Cassetti\u2019s Latin libretto, which departs in some respects from the biblical account in the Book of Judith, one of the Apocryphal books, is an allegory of Venice\u2019s political situation at the time. Cassetti himself explains the allegorical roles in the preface to the libretto: \u201cJudith is the Adriatic, and her companion Abra is Faith. Bethulia is the Church, the Christian alliance; Ozias is its supreme pontiff and leader of the virgins. Holofernes is the Sultan of the Turks, the eunuch Vagaus his general, and the entire Venetian fleet rejoices in a magnificent victory.\u201d The story does not make it entirely clear whether Judith is an astute military strategist, her homeland\u2019s \u201csecret weapon\u201d, who wins the enemy\u2019s trust through calculated diplomacy before carrying out a carefully planned special mission. Or is she a deranged fanatic who, on a whim, murders a defenceless man? The underlying message of the story is clear: the ends justify the means.<\/p>\n

The story of Judith and Holofernes has been interpreted as a variation in the battle between David and Goliath, in which the apparently weaker opponent defeats a physically formidable adversary through cunning and the power of faith. Over the centuries, Judith has inspired numerous visual artists and composers. A woman who fights with both feminine and masculine weapons stirred excitement and passion, perhaps evoking a fascination similar to that inspired by the Piet\u00e0\u2019s all-female orchestra among concert audiences accustomed to male performers. Although Judith\u2019s mission has an unmistakable sexual undertone \u2013 after all, she uses her charm and her gender to her advantage \u2013 the story of the courageous Judith was regarded as a suitable moral example for women to identify with. This may also explain why it was considered an appropriate subject for an oratorio intended for the Piet\u00e0, a somewhat secluded, convent-like institution for girls and women.<\/p>\n

Oratorios were a central part of the repertoire at Venice\u2019s ospedali in the early eighteenth century. The sacred music Vivaldi composed for the Piet\u00e0 is \u201cconcertante\u201d in style, showcasing the performers\u2019 virtuosity. Stylistically, Juditha triumphans is emotionally charged and operatic, although its musical language is less closely tied to the text than that of seventeenth-century Venetian church music in the time of Claudio Monteverdi and Francesco Cavalli. The work makes rich use of instrumental music, which was innovative at the time. Its extensive range of instruments was seen as enhancing the spiritual depth of the work, in contrast to the late sixteenth century, when the Church favoured purely vocal music. The dramatic power of Juditha triumphans is unmistakable. Although the Piet\u00e0\u2019s musicians performed hidden from the audience, the work\u2019s expressive nuances, ranging from fervent prayer to fierce emotional outbursts, moved contemporary listeners and continue to impress audiences with their vitality today.<\/p>\n

Juditha triumphans is scored for five female soloists, choir and orchestra. It makes versatile use of the Piet\u00e0\u2019s extensive collection of instruments. The work includes, for example, arias featuring the viola d\u2019amore (Quando magis generosa), mandolin (Transit aetas), four theorbos (O servi volate) and a viol ensemble (In somno profundo). In one of the seven arias sung by the title character (Veni, me sequere fide), the obbligato instrument is the soprano chalumeau, a precursor of the clarinet. The choral movements, which Vivaldi marked SATB to indicate mixed choir, were also performed at the premiere by an all-female choir, with the tenor parts sung at their written pitch. The bass part was either omitted or sung an octave higher. According to some sources, women occasionally sang bass at the Piet\u00e0, so it may also have been possible to perform the bass part at its written pitch.<\/p>\n

Meri Metsom\u00e4ki<\/em>[\/vc_column_text][\/toggle][\/toggles][toggles style=”minimal”][toggle color=”Accent-Color” heading_tag=”h6″ heading_tag_functionality=”default” title=”Synopsis”][vc_column_text text_direction=”default”]Nebuchadnezzar, King of Assyria,<\/strong> has sent his army, led by General Holofernes, to besiege the Jewish city of Bethulia. The people of Bethulia are suffering from severe hunger. The high priest Ozias (Uzziah) urges them to pray and remain patient. Judith, a devout young widow, decides to risk her own safety to save her people. Accompanied by her faithful maidservant Abra, she leaves the city and enters the enemy camp, pretending to be a deserter seeking mercy.<\/p>\n

Part I<\/strong><\/p>\n

The soldiers sing of battle. Holofernes, commander of the Assyrian army, sings of valour. Judith arrives, and Holofernes\u2019 servant Vagaus presents her to his master. Judith asks Holofernes to put an end to the war. Holofernes is captivated by Judith and agrees to negotiate. He invites her to dinner in his tent. Judith declines, saying that she would rather fast. Judith\u2019s maidservant Abra encourages her and strengthens her resolve. The young women of Bethulia pray for Judith.<\/p>\n

Part II<\/strong><\/p>\n

Ozias prays and foretells a favourable outcome. In the commander\u2019s tent, Holofernes attempts to seduce Judith. To buy time, Abra and Judith perform a song. Holofernes becomes intoxicated and confesses his love for Judith. He falls asleep, and Vagaus sings him a lullaby. Vagaus and Abra leave Judith alone with Holofernes. Judith finds Holofernes\u2019 sword and cuts off his head. Abra sings a song of praise as she and Judith flee the camp, taking Holofernes\u2019 head with them. In the morning, Vagaus discovers the body and vows revenge. The Assyrian army is thrown into chaos, and the Jewish forces succeed in their attack. 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  • Address<\/strong>: It\u00e4inen Rantakatu 14, 20800 Turku<\/li>\n
  • Public transport: <\/strong>Close to all stops in the city centre. The closest bus stops are Linnankatu and Kaskenkatu.<\/li>\n
  • Accessibility:<\/strong> Coming soon.<\/li>\n
  • Parking:<\/strong> Limited parking spots behind the Virastotalo.<\/li>\n<\/ul>\n <\/div>[nectar_btn size=”large” open_new_tab=”true” button_style=”regular” button_color_2=”Extra-Color-3″ icon_family=”none” text=”Bus timetables (F\u00f6li.fi)” margin_top=”5″ url=”https:\/\/www.foli.fi\/fi\/aikataulut-ja-reitit”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” flex_gap_desktop=”10px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text text_direction=”default”]