Programme

La Giuditta by Alessandro Scarlatti (May 1660 - Oct 1725)

Performers:

Director: Steven Devine

Soloists: 

Gillian Zammit (Juditta): soprano

Alessandra Vavasori (Holofernes): mezzo soprano

Kate Semmens  (Ozias): soprano

Cliff Zammit Stevens  (Achior): tenor

Albert Buttigieg (High Priest): bass    

Valletta Baroque Ensemble (ViBE)

Violins: Sarah Spiteri, Tatjana Chircop, Marcelline Agius, Carol Ciantar, Orietta Beaumer                

Violas: Matthew Fenech, Joseph Mallia                        

Cellos: Jacob Portelli, Frank Camilleri

Double Bass: Michelle Agius

Harpsichord: Joanne Camilleri

Theorbo: Pablo Zapico

Alto recorders: John Mc Donough, Clara Galea

Trumpet: Richard Thomas

Programme Notes

La Giuditta

Alessandro Scarlatti (1660–1725), the era's most prolific Italian aria composer, left behind 800 cantatas, 40 oratorios, many instrumental works, and sacred music. Born in Palermo, he began his career in Rome and by 1683 was composing for notable Roman patrons. In 1684, he settled in Spanish-controlled Naples, serving as maestro of the Royal Chapel and composer for the public theatre and viceroy’s palace. Despite his busy schedule, he sought more lucrative positions, accepting commissions from Roman and Florentine patrons. Though widely commissioned and collected, his personality kept him from securing a permanent post with any of his Europan patrons.

Composed in Naples in 1693, La Giuditta was commissioned by Cardinal Pietro Ottoboni, who also wrote the libretto. As vice-chancellor of the Church in Rome, Ottoboni resided in the grand Palazzo della Cancelleria, where he was known for his substantial income and indulgent lifestyle and hosted lavish events. Scarlatti’s oratorio was one of many remarkable musical performances that Ottoboni supported.

This oratorio reflects Scarlatti’s mastery in combining dramatic narrative with profound musical expression. It recounts the biblical story of Judith, who courageously saves her people by beheading the Assyrian general Holofernes. Structured in two main parts, the oratorio features a dynamic interplay of arias, recitatives, and choral sections that build tension and underscore the emotional stakes of the story.

The five main characters—Judith, Holofernes, Ozias, Achior and the High Priest - each contribute uniquely to the narrative's depth. Scarlatti’s composition masterfully juxtaposes moments of lyrical beauty with dramatic urgency, vividly bringing the characters and their conflicts to life. The orchestration and vocal writing create a powerful atmosphere that reinforces themes of divine justice and human courage, showcasing Scarlatti’s talent for blending operatic drama with sacred storytelling and solidifying his reputation as a composer of depth and versatility.

Synopsis

As the Assyrian general Holofernes advances on Judea, the people of Bethulia fear for their lives. Prince Ozias seeks counsel, and while the High Priest advises surrender, the bold widow Judith urges him to delay for five days, vowing to use her beauty to infiltrate Holofernes' camp and kill him.

Holofernes, confident in his impending victory, questions Achior, a former Bethulian soldier now in his service, about the city's resistance. Achior insists that victory depends on Heaven's will. Angered, Holofernes expels Achior, leaving him to die with the Bethulians.

Part Two

Holofernes, captivated by Judith's beauty, welcomes her into his camp. Judith prays for divine guidance while maintaining her composure. At Bethulia's walls, the High Priest informs Ozias that Achior has returned and reveals Judith’s mission.

Holofernes, trusting Judith, eventually falls asleep in her presence. She prays for strength and beheads him. Judith escapes with the head and returns to Bethulia. Unaware of Judith's success, Ozias declares surrender. Achior accuses him of losing faith, and Ozias condemns him as a traitor. Just then, Judith arrives with Holofernes' head, proving that divine intervention has saved Judea through her bravery.

Biographies

Steven Devine: Musical Director

Steven Devine is a versatile musician balancing roles as a conductor, director, harpsichordist and fortepianist. He serves as Conductor and Artistic Advisor of The English Haydn Festival, Music Director of New Chamber Opera, Oxford, and Director of the Orchestra of the Age of Enlightenment’s “Bach, the Universe & Everything” series.

Devine has directed works by Purcell, Blow, Bach, Handel, and Mozart with the Orchestra of the Age of Enlightenment and led performances of Bach's Easter Oratorio with the BBC National Orchestra of Wales. His repertoire spans Haydn, Handel, Vivaldi, and more, collaborating with Trondheim Barokk, Victoria Baroque Players, Arion Baroque Ensemble, and other prominent ensembles. His operatic projects include works by Purcell, Cavalli, Handel, and Mozart, as well as rarities by Galuppi and Salieri.

Recent highlights include Messiah with The Academy of Ancient Music in Las Palmas and performances of Bach and Telemann with Symphony Nova Scotia. Devine has also directed Brandenburg Concertos with the OAE and Ensemble 360 and recorded keyboard concertos and solo recitals to critical acclaim.

Educated at Chetham’s School of Music, Oxford, and the Royal College of Music, Devine was Director of Opera Restor’d (2002–2010) and curated the Norwegian Wind Ensemble (2016–2018). He is also a member of The Art of Moog, performing Bach on synthesizers, showcasing his innovative approach to classical music.

Gillian Zammit: Soprano

Gillian Zammit began her vocal training with Antoinette Miggiani and Paul Asciak and went on to study in Italy with Carlo Bergonzi and Victoria de los Angeles.

Operatic productions include Semele and The Turn of The Screw, Gianni Schicchi and Hansel and Gretel. She is a regular performer at Teatru Manoel, productions there include Rigoletto and Die Zauberflöte both conducted by Michael Laus and the role of Euridice in Gluck’s opera Orfée conducted by Philip Walsh. She has worked with many established artists including Joseph Calleja, Eugene Kohn, Emma Kirkby and Placido Domingo. Gillian is highly regarded as a recital singer with a varied repertoire of Lieder, Spanish and French song having performed Richard Strauss’ Four Last Songs and Berlioz’s Les Nuits d'Été amongst others. She is also a respected exponent of Baroque music and performs regularly with the Valletta International Baroque Ensemble (VIBE) with whom she has performed in Paris, Madrid, Berlin and Brussels. Gillian is a regular artist in the Valletta International Baroque Festival and has also performed at the Utrecht Early Music Festival in Holland with Cantar Lontano, the Intra Muros Early Music Festival in Belgium and the Naples Musica Sacra Festival with Marco Mencoboni.

She released her debut CD entitled The Love Songs of Paolo Tosti with pianist Lucia Micallef for UK record label Claudio Records. A more recent recording is Kantilena, a Cd of art songs with harpist Britt Arend and cellist Frank Camilleri under the auspices of the Malta Philharmonic Orchestra and Parma Recordings. Gillian trains the Abos Project Vocal Consort, and is also the Artistic Director of Opera Nova Project, an advanced training and performance programme for classical voice students.

Alessandra Vavasori: Mezzo Soprano

Alessandra Vavasori, a Venetian musician, holds diplomas in Organ and Organ Composition, Gregorian Chant, Prepolyphonic Music, and Harpsichord. She began her singing studies with C. Miatello and continued with P. Vaglieri and graduated in Singing with A. Lia Lantieri in Mantua. Vavasori also studied composition at the Conservatorio Antonio Vivaldi in Alessandro.

Her diverse career includes solo debuts in Baroque and lyrical operas since 1997. She has participated in national and international festivals, collaborating with renowned early and Baroque music ensembles. Vavasori won the 1st Prize at the international competition L. Marenzio in 1999 and secured a role in Galuppi's Il filosofo di campagna in 2000 through a national selection.

As an organist and singer, she contributed to world premieres of Baroque operas and contemporary compositions, often broadcast live. She conducts advanced courses in singing and Baroque interpretation. Collaborating with notable conductors, she has showcased her vocal talent in various roles.

Since 2015, Vavasori has taken leading roles at the Gran Teatro la Fenice in Venice and has won roles in Puccini's Madama Butterfly in 2016, directed by Myung-whun Chung, and later by Daniele Callegari in 2017. She premiered her composition Venite exultemus Domino in 2011 in Genoa.

Vavasori has been collaborating with the Valletta Baroque Ensemble since 2018, featuring as soloist in the Valletta Baroque Festival and the Three Palaces Festival in Malta. She has also been collaborating with Maestro Gianandrea Pauletta since 2021. She has recorded for labels like Musica Rediviva, Tactus.

Kate Semmens: Soprano

Kate Semmens sings widely as a soloist and has also sung with some of the most eminent choirs and consorts, including the Monteverdi Choir, Dunedin Consort, Gabrieli Consort and Eric Whitacre Singers. Kate was a soloist on Andrew Parrott’s recording of Taverner’s Western Wind Mass which won the Gramophone Award for Early Music in 2017, and performed Bach’s St John Passion with him at the St Petersburg festival. In opera, Kate has played many roles ranging from Mrs P in Michael Nyman’s The Man Who Mistook his Wife for a Hat, to Ottavia in Monteverdi’s L’Incoronazione di Poppea. She has been involved in staging of new works such as James Runcie’s Great Passion, and has taken title roles in Baroque and Classical opera including Handel’s Il Pastor Fido and Mozart’s Il Re Pastore both for New Chamber Opera. Kate performed the role of Dafne in Handel’s Apollo e Dafne with the Victoria Baroque Players in Canada. Kate performs extensively in solo chamber recitals, particularly working with the harpsichordist Steven Devine.

Working extensively with The Orchestra of Age of Enlightenment’s education projects, Kate is highly regarded for her teaching and coaching skills She has taught at the Victoria Baroque Oratorio Summer School in Canada as well as directing vocal workshops at the Dartington Baroque Week and Dartington International Summer School. Gaining a reputation as a troubleshooter, Kate has been developing performance masterclasses for adult singers for the International Music Summer School in North Norfolk.

Cliff Zammti Stevens: Tenor 

Tenor Cliff Zammit Stevens, a distinguished graduate of the Royal College of Music, has garnered acclaim for his exceptional talent and promising potential in the world of opera. Hailed as 'a revelation' by the Daily Express and recognized for 'showing exceptional promise' by Opera Magazine, Zammit Stevens has established himself as a formidable presence in the operatic realm.

His diverse operatic repertoire showcases the breadth of his vocal prowess, encompassing roles such as Otello in Rossini's Otello,Don José in La Tragédie de Carmen, Lensky in Eugene Onegin, Don Ottavio in Don Giovanni, Tamino in Die Zauberflöte, Tebaldo in I Capuleti e i Montecchi, Ismaele in Nabucco, Nemorino in L'Elisir d'amore, and Beppe in Rita (Donizetti). His participation in productions like Britten's War Requiem at the Royal College of Music and Mozart's Ascanio in Alba at King's Place further attests to his commitment to both classic and contemporary works.

Zammit Stevens has showcased his vocal artistry in notable venues, delivering the tenor solos in Mozart's Requiem at St. Martin-in-the-Fields, and participating in performances of Puccini's Messa di Gloria and Rossini's Stabat Mater at Harrogate Cathedral. His collaboration with Mro Vella includes performances in the Symphony No. 3 'The Apocalypse Verses' at St John’s Co-Cathedral and the world premiere of The Hyland Mass. With a rich and varied musical portfolio, Cliff Zammit Stevens continues to captivate audiences with his expressive singing and dedication to the art of opera.

Albert Buttigieg: Bass

Albert Buttigieg began his musical education at the Johann Strauss School of Music in Malta studying the classical guitar. He also studied vocal technique at the school and at the Opera Studio and is currently under the guidance of soprano Juliette Bisazza. He holds a Licentiate from the Trinity College of Music in Voice performance.

As a soloist, Albert has performed extensively in established local venues such as Manoel Theatre, Mediterranean Conference Centre, Teatru Astra; Teatru Aurora, St John’s Co-Cathedral, and abroad in Poland, UK, Italy, France. His performance experience ranges from baroque to contemporary, opera to song. Albert’s opera credits include Timur in Turandot, Tobias Mill in Il Cambiale di Matrimonio, Ferrando in Il Trovatore, Elmiro in Rossini’s Otello, Zio Bonzo in Madame Butterfly, Monterone in Rigoletto, Angelotti and Sagrestano in Tosca, and Peter the father in Hansel and Gretel.

Albert has premiered and recorded a number of oeuvres by Maltese composers from operatic roles such as The Magus (Thomas Mann) in the premier of Elisabeth : or to be a Mann and Sidor in Il-Wegħda, both by Charles Camilleri, to song cycles such as Albert Pace’s Għanjiet ta’ Bniedem Solitarju. However, sacred music strikes the chord closest to Albert’s heart with the most memorable being Bach’s St Matthew Passion, the Requiem masses of Biber, Haydn, Mozart, Verdi, Faure and Durufle as well as Handel’s Messiah. He has worked under the direction of distinguished conductors including Wayne Marshall, Christian Curnyn and Steven Devine.

Albert is one of the voice leaders for KorMalta, Malta’s national choir, coaching and mentoring choir members in vocal technique. He is also a member of the Valletta Baroque Ensemble (ViBE), with a series of acclaimed performances to date.

Valletta Baroque Ensemble: Ensemble 

The Valletta Baroque Ensemble was launched in December 2012. Its inaugural concert, featuring Dame Emma Kirkby, was an early milestone in a journey which had started over a meal between musician friends. Someone lamented the lack of a specialist group to perform the rich repertoire of Maltese baroque works and suggested that it would be great to set up such an ensemble. What begins in jest often ends in earnest, and this playful proposal led to the birth of the Valletta Baroque Ensemble, a group committed to historically informed performances on original instruments of Renaissance to Baroque music. The group’s acronym – ViBE – is remarkably appropriate, since the ensemble brings together leading and upcoming musicians who enthusiastically breathe life into jewels of early music.

The Valletta Baroque Festival, of which ViBE is the resident ensemble, provides the group with an important and prestigious platform, and has led to memorable concerts including, in recent years, performances of large-scale works such as Handel’s Water Music and Music for the Royal Fireworks, Claudio Monteverdi’s Vespro della Beata Vergine, the Biber Requiem and Handel’s Messiah, Belshazzar and the Dettingen Te Deum.

Apart from its participation in other seasonal events and festivals, ViBE organises concerts throughout the year, with a particular emphasis on music by Maltese composers including Girolamo Abos, Giuseppe Balzano, Mikiel Anġ Vella and other composers whose scores are held at the Mdina Cathedral archives. ViBE has brought this repertoire to the international stage, particularly during a 2017 European tour which saw the group perform Maltese baroque music in Madrid, Berlin and Paris and also in Belgium for the Intra Muros Festival 2022. The group has worked and performed alongside leading world authorities in the early music field, and also has an ongoing collaboration with KorMalta, Malta’s National Choir, with whom they have performed major works.