Singer

Ballet returns to the Teatro Filarmonico with a fun and original diptych that brings together different 20th-century gems, both written in 1936.

Jeu de Cartes | Amelia al ballo

Teatro Filarmonico

It may seem paradoxical, but one of the titles in which Vivaldi’s theatrical talent can be best appreciated is not intended for the stage. Juditha triumphans is in fact an oratorio (the only one by its composer that has survived), intended for a concert performance. More precisely, a “sacred military oratorio,” since it was written in 1716 to celebrate the victory of the Republic of Venice in defence of Corfu, a Venetian possession, besieged by the Turks. The biblical episode of Judith beheading Holofernes thus provides the pretext for an allegorical representation: Venice–Judith, Corfu–Bethulia, and Turks–Assyrians. An allegory which, in Vivaldi’s hands, becomes material from which recitatives, arias, and choruses in an operatic style emerge with ever-renewed freshness. The sumptuousness of the vocal lines—written entirely for female voices, partly en travesti—is unsurprising, given that the singers of the first performance were the orphans of the :contentReference[oaicite:0]{index=0}, which provided women with an exceptional musical education, and where Vivaldi had recently been appointed “maestro de’ concerti.” Nor is the orchestral splendour surprising, since, in addition to the singers, the composer also had at his disposal equally virtuosic female instrumentalists. What is more striking, rather, is his ability to vividly depict actions and emotions that seem visible even without sets or costumes, his imaginative instrumental combinations, and the way the music fits the already highly musical Latin verses of Giacomo Cassetti, giving them full theatrical meaning. In the city that preserves almost all of Vivaldi’s manuscripts, the welcome return of Gianluca Capuano, a specialist in Baroque repertoire, takes place after his acclaimed performance last season at the :contentReference[oaicite:1]{index=1} in Die Entführung aus dem Serail.

Juditha triumphans

Teatro Regio di Torino

Wolfgang Amadeus Mozart was only fifteen years old when he composed "Ascanio in Alba." Celebrated throughout Europe as a child prodigy, he received the prestigious commission from Empress Maria Theresa for the wedding of her son, Archduke Ferdinand, in Milan. The work is an allegorical festival drama: Venus unites her son Ascanio with the nymph Silvia, who is of divine lineage. Magnificent choruses, a festive orchestra, and virtuosic arias in the style of opera seria made the serenata a resounding success at its premiere. Christophe Rousset and his ensemble Les Talens Lyriques will be performing this concert version at the Zurich Opera House for the first time.

Soprano

Eleonora Bellocci

Events

Upcoming events

Oct 25 - Nov 1, 2026

Jeu de Cartes | Amelia al ballo · Fondazione Arena di Verona

Feb 11, 2027

Juditha triumphans · Teatro Regio Torino

13 - 20 Mar, 2027

Ascanio in Alba · Opernhaus Zürich

Future and recently performed repertoire

Vagaus in Juditha triumphans by Vivaldi

Teatro Regio Torino

Amelia in Amelia Goes to the Ball by Menotti

Fondazione Arena di Verona

Faun in Ascanio in Alba by Mozart

Opernhaus Zürich

About

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