“Armatae face et anguibus” is a dramatic aria from the oratorio “Juditha triumphans devicta Holofernis barbarie”, RV 644, by Antonio Vivaldi. The exact date of composition and performance of Juditha triumphans are not known, but the allegorical treatment of the Venetian defence of Corfu dominated public discussion in Venice throughout 1716. This work was an allegorical description of the victory of the Venetians (the Christians) over the Turks in August 1716. The work was commissioned to celebrate the victory of the Republic of Venice over the Turks during the siege of Corfu: in July 1716, the Turks had landed on Corfu and set siege to the island. The population resisted the occupation and, in August, Venice signed an alliance with the Holy Roman Emperor. On 18 August, under the leadership of Count Johann Matthias von der Schulenburg, the decisive battle was won and the Turks abandoned the island.
The plot is based on the biblical story of Judith, who defeats the Assyrian general Holofernes to save her people. The aria “Armatae face et anguibus” is sung by Vagaus, the maidservant of Holofernes, in the first part of the oratorio. The words, which literally mean “Armed with torches and snakes,” describe the vengeance and destruction that the warriors will bring upon their enemies. The music reflects the drama and intensity of the text, with a powerful and menacing atmosphere created by the use of minor keys and dynamic contrasts.
All characters, male and female, were interpreted by women of the Ospedale della Pietà. They are:
- Juditha, contralto, a young Bethulian widow
- Holofernes, contralto, Assyrian general
- Vagaus, soprano, eunuch, Holofernes’s squire
- Abra, soprano, Juditha’s handmaid
- Ozias, contralto, high priest of Bethulia
An all-female choir sings the parts of the Assyrian soldiers and of the Bethulian women. In the tradition of the Ospedale della Pietà, where some of the singers were trained to sing below the normal contralto range, the chorus is scored for SATB. The string orchestra is augmented by timpani, 2 trumpets, mandolino, 4 theorbos, 5 “viole all’inglese” (viols), 1 viola d’amore, 2 recorders, 2 chalumeaux (soprano), “Clareni” (clarinet), 2 oboes, organ.
The aria is an example of Vivaldi’s ability to compose music that evokes strong emotions and imagery. The aggressive texture and driving rhythm of the aria convey a sense of inevitability and the fearsome determination of the warriors. “Armatae face et anguibus” stands out as one of the most striking moments in “Juditha triumphans,” showcasing Vivaldi’s mastery in setting dramatic and emotional scenes to music.
Although it has been suggested that Juditha triumphans was performed at the Ospedale della Pietà in November 1716, the victorious General Schulenburg, to whom the work is dedicated, could not have been present for any performance prior to January 3, 1717.
