The oratorio as a musical form emerged toward the end of the seventeenth century as a kind of “spiritual exercise” encouraged by the Congregazione. Maddalena ai Piedi di Cristo (Magdalene at the feet of Christ), however, was one of the earliest, having been given in Venice probably in Find album credit information for Caldara: Maddalena ai piedi di Cristo – René Jacobs on AllMusic.
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Maddalena ai piedi di Cristo Magdalene at the Feet of Christ was probably written around in Rome.
Amazon and the Amazon logo are trademarks of Amazon. The performances took place in oratories prayer halls constructed above church naves and were intended to be attractive but edifying entertainments.
Both are excellent, but so are all the participants in this performance — not forgetting the admirable instrumentalists. Then as later, oratorios generally reflected the popular forms and styles of secular music — and in late Renaissance and Baroque Italy, this meant opera, though based on religious rather than mythological and heroic themes.
Though practically devoid of external action, it is dramatically tense, concentrating on a continuous struggle between the forces of good and evil counselling the sinner Magdalen, who in addition is urged towards penitence by her sister Martha: The music is conventional for its time.
This is an issue to be recommended with all possible enthusiasm: Maddalena ai Piedi di Cristo Magdalene at the feet of Christhowever, was one of the earliest, having been given in Venice probably in or While the new recording cannot and does not displace the Jacobs, it is worthy to stand alongside it. I was aware that Caldara was the most prolific and famous oratorio composer of his day, with some 40 such works to his credit, but I had no cqldara that this one written xi would prove to be so wonderfully rich in fresh and attractive invention.
Marta the righteous sister of Mary, a cynical Pharisee and Christ himself. A word of praise, too, for the clear diction and insightful approach to the text brought pieri all the singers, not always gainsaid with allegorical librettos that today can seem arcane or even irrelevant. In addition to these protagonists, three further characters have a subsidiary role: Le Banquet Celeste, Damien Guillon, alto, director CD Review Antonio Caldara.
The most prolific composer in this genre was Piedii Caldara c ; New Grove lists 43 oratorios in addition to many operas and there are probably more that have been lost, written for patrons in his native Venice, Rome, Florence, Mantua, and Vienna.
It is one of the treasures of the early music catalogue. The majority of the latter were sumptuous, large-scale works composed during the period Caldara was employed as vice-Kapellmeister to the Emperor Charles VI in Vienna Handel probably met Caldara in Rome, and may well have learned something from him; du any rate, the comparison is not madddalena all in Caldara’s disfavor.
Home News Contacts Copyright. This site can only survive if users click through the links and buy the products reviewed. That in itself is high praise; we are lucky to have two such outstanding recordings of this lovely work. Riccardo Novaro brings a powerful bass to the Pharisee, while the experienced tenor Reinoud Van Mechelen is a positive Christ.
Skip to main content. The tight and cohesive libretto by Lodovici Forni also used by Bononcini in is based on Luke 7: Gramophone products and those of specially selected partners ia the world of music. Rene Jacobs furthers the dramatic impact by his pacing of the recitatives, in particular; and his casting is flawless. But there is no lack of variety: This is unfamiliar music that is too beautiful to be neglected, and these discs are very welcome.
As an Amazon Associate I earn from qualifying purchases. The two characters are engaged throughout the oratorio in a battle for dii soul of Mary Magdalene, caldraa as a repentant sinner is torn by conflict.
Maddalena ai piedi di Cristo (Caldara, Antonio)
The sound is excellent. The oratorio as a musical form emerged toward the end of the seventeenth century as a kind of “spiritual exercise” encouraged by the Congregazione dell’Oratorio in Rome.
Gramophone’s expert reviews easier than ever before. Caldara Maddalena ai piedi di Cristo Maddalena ai piedi di Cristo. The instrumental writing is consistently imaginative and expressive, and many of the arias, especially those of Maddalena in the course of her renunciation of worldly pleasures in favor of Jesus, are full of feeling and exceptionally beautiful. Her soprano is a lovely instrument, its fast vibrato madxalena helping to create for its character an appropriate impression of vulnerability.
We receive no advertising income or any other calxara of financial support. Maddalena ai piedi di Cristo. The all-time greats Read crieto the artists who changed the world of classical music. There are only three concerted arias, all duets for Earthly and Celestial Love, and relationships among the characters are explored only in the recitatives, with the arias reflecting a variety of moods and emotions.
In keeping with the remainder of the cast, her ornamentation in da capo repeats is invariably appropriate, maddallena as usual the trill is largely a notable absentee from the proceedings.
Caldara: Maddalena ai piedi di Cristo – René Jacobs | Credits | AllMusic
Madealena Cristina Kiehr has a lovely, caleara voice and conveys Maddalena’s emotions with much color and feeling. All arias are in da capo form, some small-scale and intimate and scored for continuo only, others expanded and using larger orchestral forces, more flamboyant and operatic in nature. Less praiseworthy was the unnecessary qi to omit the da capo repeats of two arias. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.
Cast in two parts, the text of Maddalena is an allegory that follows the favourite Baroque conceit of presenting the central character with a moral dilemma, in this case, the choice between earthly pleasures Amor Terrenoand heavenly redemption Amor Celeste. He has had the highly effective idea of differentiating the parts of Earthly and Celestial Love by allocating the former to a mezzo and the latter to a countertenor.
Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. Composition Artist Credits Maddalena ai piedi di Cristo. For dramatic purposes, Forni introduced the figures of Celestial and Earthly Love representing good and evil in combat for the soul of Maddalena, whose irresolution and anguish — not reflected in the spare Biblical narrative — are movingly depicted.
Bernarda Fink opens and closes the piece with force and beauty, and her final aria is a brilliant and hell-raising act of defiance; Rosa Dominguez is equally effective as Martha.