Marijana Mijanovic, contralto
In 1771, aged just 15, Mozart wrote what was to be his only Oratorio, Betulia Liberata. It was commissioned by Giuseppe Ximenes, Prince of Aragon, while Mozart was in Padua, though it was not performed during the composers' lifetime.
The role of Giuditta, widow of Manasseh, was written for the alto voice, and in this performance the Serbian contralto, Marijana Mijanovic, takes on the role. The tessitura is perfectly set for the contralto voice, with low passages which cry out for the dark, smoky timbre of the contralto chest register.
If you want to follow the score, you can see it at the IMSLP website. I hope you enjoy the wonderful videos uploaded by the YouTube user ssiroe.
The first aria is "Del pari infeconda" which has a range of G3 to D5. Listen to the wonderful strength of Mijanovic's low tones.
The role of Giuditta, widow of Manasseh, was written for the alto voice, and in this performance the Serbian contralto, Marijana Mijanovic, takes on the role. The tessitura is perfectly set for the contralto voice, with low passages which cry out for the dark, smoky timbre of the contralto chest register.
If you want to follow the score, you can see it at the IMSLP website. I hope you enjoy the wonderful videos uploaded by the YouTube user ssiroe.
The first aria is "Del pari infeconda" which has a range of G3 to D5. Listen to the wonderful strength of Mijanovic's low tones.
The second aria is "Parto inerme, e non pavento" which has a range of A3 to D5, and containing some typical Mozartian intervals.
The final aria penned for the role of Giuditta was "Prigionier che fa ritorno" which has a range of A3 to C#5.
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