Judith (Serov)
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''Judith'' ( – stress on second syllable) is an opera in five acts, composed by Alexander Serov during 1861–1863. Derived from renditions of the story of
Judith The Book of Judith is a deuterocanonical book included in the Septuagint and the Catholic Church, Catholic and Eastern Orthodox Christianity, Christian Old Testament of the Bible but Development of the Hebrew Bible canon, excluded from the ...
from the Old Testament
Apocrypha Apocrypha () are biblical or related writings not forming part of the accepted canon of scripture, some of which might be of doubtful authorship or authenticity. In Christianity, the word ''apocryphal'' (ἀπόκρυφος) was first applied to ...
, the
Russian Russian(s) may refer to: *Russians (), an ethnic group of the East Slavic peoples, primarily living in Russia and neighboring countries *A citizen of Russia *Russian language, the most widely spoken of the Slavic languages *''The Russians'', a b ...
libretto, though credited to the composer, has a complicated history. The premiere took place in 1863 in
Saint Petersburg Saint Petersburg, formerly known as Petrograd and later Leningrad, is the List of cities and towns in Russia by population, second-largest city in Russia after Moscow. It is situated on the Neva, River Neva, at the head of the Gulf of Finland ...
. This stage debut, supplemented with his next opera '' Rogneda'', made Serov the most important Russian opera composer of the 1860s.


Composition history

The Italian play ''Giuditta'' by Paolo Giacometti, produced in
Saint Petersburg Saint Petersburg, formerly known as Petrograd and later Leningrad, is the List of cities and towns in Russia by population, second-largest city in Russia after Moscow. It is situated on the Neva, River Neva, at the head of the Gulf of Finland ...
in 1860, first inspired the Serov to work on the project as a vehicle for the Italian opera troupe in
Saint Petersburg Saint Petersburg, formerly known as Petrograd and later Leningrad, is the List of cities and towns in Russia by population, second-largest city in Russia after Moscow. It is situated on the Neva, River Neva, at the head of the Gulf of Finland ...
. Using Serov's
scenario In the performing arts, a scenario (, ; ; from Italian , "that which is pinned to the scenery") is a synoptical collage of an event or series of actions and events. In the ''commedia dell'arte'', it was an outline of entrances, exits, and actio ...
, Ivan Antonovich Giustiniani wrote a libretto in
Italian Italian(s) may refer to: * Anything of, from, or related to the people of Italy over the centuries ** Italians, a Romance ethnic group related to or simply a citizen of the Italian Republic or Italian Kingdom ** Italian language, a Romance languag ...
. When an Italian production of the proposed opera proved legally impossible, the Italian libretto was translated into Russian by Konstantin Zvantsov and Dmitry Lobanov, and some verses were added by the poet Apollon Maykov; in the meantime, the composer was writing the music ''without'' having the words ahead of time.


Performance history

The world premiere was given on 16 May 1863 at the
Mariinsky Theatre The Mariinsky Theatre (, also transcribed as Maryinsky or Mariyinsky) is a historic opera house in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces ...
, St. Petersburg, conducted by Konstantin Lyadov and starring Mikhail Sariotti as Holofernes and Valentina Bianki as Judith. The Moscow premiere took place in 1865 at the Bolshoy Theatre in Moscow conducted by Shramek.


Publication history

*1885, piano-vocal score, Gutheil, Moscow *1903, full score, Belyayev, Leipzig


Roles

*
Judith The Book of Judith is a deuterocanonical book included in the Septuagint and the Catholic Church, Catholic and Eastern Orthodox Christianity, Christian Old Testament of the Bible but Development of the Hebrew Bible canon, excluded from the ...
, an Israelite woman, widow of a Jewish warrior: ''
soprano A soprano () is a type of classical singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hertz, Hz to A5 in Choir, choral ...
'' *Avra, her slave: ''
mezzo-soprano A mezzo-soprano (, ), or mezzo ( ), is a type of classical music, classical female singing human voice, voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A bel ...
'' *Ozias, an elder of the city of Bethulia: ''
bass Bass or Basses may refer to: Fish * Bass (fish), various saltwater and freshwater species Wood * Bass or basswood, the wood of the tilia americana tree Music * Bass (sound), describing low-frequency sound or one of several instruments in th ...
'' *Charmis, an elder of the city of Bethulia: ''bass'' *Eliachim, Jewish high priest: ''bass'' *Achior, chief of the Ammonites, subjugated to Holofernes: ''tenor'' * Holofernes, Assyrian commander: ''bass'' *Asfaneses, retainer of Holofernes: ''bass'' *Bagoas, head of Holofernes' harem: ''
tenor A tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. Composers typically write music for this voice in the range from the second B below m ...
'' *1st Odalisque: ''soprano'' *2nd Odalisque: ''mezzo-soprano'' *People, Jewish warriors, odalisques, Assyrian chiefs and warriors, feasters, male and female slaves of Holofernes


Synopsis

:Time: The 6th Century BC. :Place: In and around Bethulia


Act 1

At midday in a square in Bethulia, which is still under siege by Holofernes and his Assyrian troops, the people suffer from despair and thirst. The elders Ozias and Charmi report that all the roads are now cut off, and the last source of water has dried up. The high priest Eliachim, however, hopes for a miracle, but the people want to surrender the city to end their suffering. The elders ask them to wait five more days and nights; after that time, if God does not deliver them, the city will let the enemy in. Jewish warriors then come through the gates holding Achior. He tried to persuade Holofernes to stop the siege and follow the God of the Jews; as punishment, Holofernes had him bound and left near the city to share in the Jews' destruction by the Assyrians. Everyone then prays to God for deliverance.


Act 2

Judith, alone in her room, decides that, instead of waiting five days, something must be done now. She devises a plan to use the beauty God gave her in order to trick Holofernes and save her people. To her summons the elders arrive. She expresses her pro-active intentions and asks for permission to go to the enemy camp with her slave Avra. They grant permission and leave. When Avra then tries to talk her out of going to the camp, Judith remains steadfast.


Act 3

In Holofernes' camp, odalisques perform songs and dances. Holofernes sends them away, intent on his plan to make a full attack on Bethulia the next day. Judith is let into the camp and presented to Holofernes, who is enchanted by her beauty (as are all the Assyrians). When he inquires as to her purpose, she pretends that she will show him a secret way to enter and take Bethulia and Jerusalem as long as he allows her to move freely. Holofernes believes her ruse, even to the point of asking her to be queen. The camp then celebrates the power of Babylon.


Act 4

Dances and songs once more resound in the camp. Amidst praise of comely Judith, Asfaneses makes an unfortunate remark about her coldness, and is immediately stabbed to death by Holofernes. Just then Judith comes out and is horrified by the grisly act, but remains resolved in her plan. He informs her that the city will be attacked the next day. In a drunken stupor Holofernes falls to the ground unconscious at Judith's feet. After he is placed on his bed, she remains with him as everyone else leaves. Within the tent she takes his sword and decapitates him. After asking Avra to put the head into a sack, the two of them leave quickly.


Act 5

In Bethulia the people, awaiting the dawn of the sixth day, are ready to open the gates to the Assyrians, despite pleadings from the high priest. Suddenly Judith is heard outside the gates, and she shows them the head of Holofernes. The sounds of the fleeing Assyrian troops are confirmed by Ozias' report. All sing praise to God for answering their prayers.


Principal arias and numbers

*Introduction (or Overture) *Judith's Monologue (Act II) *Holofernes' March (Entr'acte before Act III) *Dances (Act III) *Bacchic Dance of the Odalisques and Dance of the Two Almahs (Act IV) *Indian Song (Act IV)


Influences

Despite completely lacking in "Russian" subject matter as well as being not the first opera based on the story of Judith, Serov's setting has great significance for the history of Russian music. Besides its success with the public (enhanced by Fyodor Chaliapin's portrayal of Holofernes beginning in 1898), Serov's ''Judith'' influenced later Russian composers, including: *
Tchaikovsky Pyotr Ilyich Tchaikovsky ( ; 7 May 1840 – 6 November 1893) was a Russian composer during the Romantic period. He was the first Russian composer whose music made a lasting impression internationally. Tchaikovsky wrote some of the most popular ...
– '' The Maid of Orleans'' * Mussorgsky – the unfinished '' Salammbô'' * Borodin – '' Prince Igor'' * Rubinstein – his biblical operas The Eastern element in ''Judith'' is most obvious in Acts III and IV; its influence (presaged by Glinka in '' Ruslan and Lyudmila'') can be detected by comparing the Indian Song from Act IV with the "Song of the Indian Guest" from Rimsky-Korsakov's '' Sadko''.


Recordings

* 1991, Andrey Chistyakov (conductor), Bolshoy Theatre Orchestra, Russian Academic Choir of the USSR, Irina Udalova (Judith), Yelena Zaremba (Avra),Mikhail Krutikov (aka Svetlov) (Holofernes), Nikolay Vasilyev (Bagoas), Anatoly Babïkhin (Ozias), Vladimir Kudryachov (Achior), Stanislav Suleimanov (Asfaneses), Pyotr Gluboky (Eliachim), Maksim Mikhaylov (Charmis), Irina Zhurina and Marina Shutova (odalisques), Lev Kuznetsov (Hindu Song). Reissued Brilliant Classics 2011.


See also

* '' Rogneda'' (1865) * '' The Power of the Fiend'' (1871)


References

*Bernandt, G.B. ''Словарь опер впервые поставленных или изданных в дореволюционной России и в СССР, 1736–1959'' 'Dictionary of Operas First Performed or Published in Pre-Revolutionary Russia and in the USSR, 1836–1959''(Москва: Советский композитор, 1962), p. 357. *Kandinsky, Alexey. D notes for recording of ''Judith'', on the label Chant du monde, LDC 288 035/036* Serov, Alexander. ''Юдифь'': опера в пяти действиях. Арранжированная для пения с фортепианом А. Евгениевым и Г. Дютшем. 'Judith'': opera in five acts. Arranged for voice and piano by A. Yevgeniev and G. Diutsh. Москва: А. Гутхеиль, 1885. * Taruskin, Richard. ''Opera and Drama in Russia As Preached and Practiced in the 1860s''. New ed. Rochester: University of Rochester Press, 1993. *_______. "Serov, Alexander Nikolayevich," Grove Music Online (Accessed 10 January 2006), *_______. "Yudif’," Grove Music Online (Accessed 10 January 2006),


External links


Score
at th
IMSLP Petrucci Music LibraryRussian libretto in zip file for Word
{{Authority control Russian-language operas Operas by Alexander Serov 1863 operas Operas Cultural depictions of Judith