The connection with the service of the church was so far maintained that a mass and an address from a boy preceded the oratorio, and a sermon was delivered between its two parts.[ 12 ]
The growth of the azione sacra kept pace with that of the opera seria.
Apostolo Zeno defined the form of the oratorio by giving it unity of action, time and place, and strict dramatic treatment, and Metastasio carried on and completed the work just as he had done in the opera. Its division was into two, not three parts, otherwise the arrangement corresponded altogether with that of the opera. The characters enter speaking; recitative is employed for the dialogue, and the airs serve "LA BETULIA LIBBRATA," 1773. to express the higher emotions; concerted songs occur but seldom, but the choruses are frequent, and more often form a part of the action than in the opera.
The subject-matter is borrowed from the Bible, generally the Old Testament, or from some old legend; but both persons and plot must of necessity be devised, so as to represent the story in a succession of dialogues. An effort is made to preserve the biblical diction in the poetry, but the animated rhetorical style of Italian poetry decidedly gets the upper hand. Moral and religious reflections are the almost invariable themes of the songs and choruses, which have rarely any individual character. In this respect, as well as in the dearth of dramatic action, the azione sacra comes nearer to the so-called azione teatrale than to the genuine opera seria.
The legend of Judith is treated as follows by Metastasio, in his oratorio "La Betulia Liberata," which has often been composed.[ 13 ]The dramatis persona ("interlocutori") are:—[See Page Image]
Ozia reproaches the desponding inhabitants of Bethulia for their cowardice, and declares his resolution not to give up the city to the enemy. Amital and Cabri oppose him, describing the sufferings of the people from famine and sickness. In vain he reminds them how the Lord has helped their fathers, they demand admission to Holofernes, and it is with difficulty that he obtains a delay of five days, and calls upon God for help, with the chorus. Then Judith enters; horrified at ORATORIO. the decision, she upbraids them for their cowardice which dares to doubt God's mercy and set a limit to His power: "il primo è vile, temerario il secondo." Her song (5) may serve as a standard for the style of this poetry:
Del pari infeconda
D' un flume è la sponda,
Se torbido eccede,
Se manca d' amor.
Si acqaista baldanza
Per troppo speranza,
Si perde la fede
Per troppo rumor.
She exhorts the trembling people to trust and patience, and informs them that she has formed a great resolve, which as yet she can communicate to no one; while she prepares herself, all are to unite in prayer; the former chorus is repeated. Carmi brings Achior as a prisoner, who relates that, having told Holofemes of the courage of the Israelites and the wonderful power of their God, who renders them invincible as long as they trust in Him, he has been sent into the city to share its destruction. Judith approaching, is left alone with Ozia, who is surprised to see her richly adorned; she demands egress from the town with her maid, and departs, the chorus (in the distance) expressing astonishment at her enterprise.
In the second part Ozia seeks to convince the heathen Achior that there is but one God. Before his arguments have been quite successful Amital enters and describes the death-stillness, expressive of the extreme of need and despair, which hangs over the city. Shrieks and tumult interrupt him; Judith returns, and relates how she has slain Holofernes; she holds the decapitated head before the incredulous Achior, who swoons for fear. After Judith's song, he comes to himself and declares his conversion to the faith of the God of Abraham. Carmi enters, and relates that at Judith's bidding they had raised a war-cry; the Assyrians, discovering the death of Holofernes, were seized with terror and fled precipitately.
A song of thanksgiving to God, in which Judith leads the chorus, forms the conclusion.