Vivaldi is known to have composed four oratorios but only Juditha triumphans devicta Holofernes barbarie (performed at Venice’s Ospedale della Pietà in November 1716) has survived. Those who remain sceptical about Vivaldi’s powers as a musical dramatist on the evidence of his operas might be impressed by this exciting and richly orchestrated depiction of how the cunning and seductive heroine Judith (who was omitted from Protestant versions of the Old Testament) gains the trust of the Assyrian general Holofernes, lulls him to sleep, decapitates him, and thereby liberates Bethulia. There are already half a dozen recordings, including fine versions by Robert King (Hyperion, 5/98) and Alessandro de Marchi (Naïve, A/01). This new account by the Pinchgut Opera Company was recorded live during staged performances in Sydney.

The Sinfonia (arranged from RV562 by assistant director Benjamin Bayl) and opening chorus crackle with raw energy. Attilio Cremonesi’s interpretation certainly has ample spirit and flair in fast music, even if it eschews the more natural and elegant approach readily apparent in King’s performance. Unlike Vivaldi’s all-female performance at the Pietà, Cantillation’s tenors and basses are men, and Holofernes is sung by countertenor David Walker (notwithstanding his illustrious opera CV, this is a rare appearance on disc). I enjoyed Sara Macliver’s unforced stylishness, Fiona Campbell’s understated singing in the beautiful pastoral sleep scene “Umbrae carae”, and Sally- Anne Russell’s sensitive vocal interplay with soft exotic instrumental colours (solo viola d’amore in “Quanto magis”, chalumeau in “Veni, me sequere fida”, mandolin in “Transit aetas” and viols in “In somno profundo”). The finest music-making from singers and players alike is most frequently to be found in the gentlest arias. Elsewhere it seems as if Cremonesi resolved for the Orchestra of the Antipodes to make as bold an impact as humanly possible. This provides visceral excitement but only really suits Vagaus’s venomous rage aria “Armatae face” (sung upon discovering his murdered Assyrian lord), and beforehand does not always serve Vivaldi’s music faithfully. Cremonesi’s over-arpeggiated harpsichord showboating during recitatives is an interventionist impediment but he paces the gaps between recitatives and arias superbly, and overall Pinchgut Opera’s sixth CD production is its best so far.