Maddalena ai piedi di Cristo

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Work data
Title: Maddalena ai piedi di Cristo
Title page of the score, Vienna 1713

Title page of the score, Vienna 1713

Shape: Oratorio in two parts
Original language: Italian
Music: Antonio Caldara
Libretto : Bernardo Sandrinelli
Literary source: Lodovico Forni
Playing time: about 2 hours
people

Maddalena ai piedi di Cristo (German: "Magdalena at the feet of Christ") is an oratorio in two parts by Antonio Caldara (music) with a libretto by Bernardo Sandrinelli based on a model by Lodovico Forni. It was probably written in Venice around 1698 and is preserved in a copy of the score from 1713.

action

The oratorio is about the former "sinner" Maria Magdalena , who is called "Maddalena" here. The allegorical figures of earthly and heavenly love try to win them over to their side. At this point, Maddalena has largely renounced earthly temptations, but is still unsure whether she can really find forgiveness. She finds support from her sister Marta and from Jesus Christ ("Cristo") himself. A Pharisee ("Fariseo") doubts the correctness of her decision. He believes that sins can only be erased through offerings in the temple. In the end, Maddalena finally makes her choice, and earthly love withdraws into the underworld.

First part

Earthly love shows the sleeping Maddalena in dream images the joys of love. Heavenly love wants to prevent that. Both argue for a while and then decide to hold a contest for Maddalena's soul - with her heart as a battleground. Maddalena wakes up and realizes that she has to choose between worldly life and the kingdom of heaven. Heavenly love advises her to turn her gaze to heaven and to renounce any other form of love. In this way she will conquer her fears. Earthly love, on the other hand, recommends that she use the joys of life while she can. After some thought, Maddalena vows to follow her beliefs and forego all pleasure. Her sister Marta supports her in this decision. Maddalena fears, however, that her past transgressions are too great to be forgiven through repentance alone. Martha reassures her that there is no greater sacrifice for heaven than true tears. Thereupon Maddalena renounces all worldly pomp and her own beauty. Earthly love tries again to change her mind. Heavenly love intervenes and the two of them quarrel. Maddalena sticks to her decision, and Marta praises her for it. However, a Pharisee points out that only offerings in the temple can ensure divine forgiveness. Martha contradicts him by saying that Christ is the true temple and a tormented soul is the most worthy sacrifice. Maddalena decides to throw herself at Christ's feet in order to be forgiven through him. Earthly love is preparing for a final battle.

Second part

The Pharisee denied Maddalena access to Christ, because her transgressions could still be seen. Maddalena, however, reminds him of her repentance, and Christ himself encourages her. She begs his forgiveness. The Pharisee wonders why Christ does not withdraw from her. Heavenly love delights Maddalena's repentance, while earthly love gradually loses hope. Christ accuses the Pharisee of hypocrisy and explains that Maddalena's tears make heaven laugh so that she can overcome the shackles of death. Heavenly love is already certain of its victory, but earthly love still hopes for a change of heart from Maddalena. She calls on the forces of the underworld to come to her aid. Marta urges her sister to stand firm. Maddalena already feels a new upright spirit within herself. She asks forgiveness from God and the Savior one more time. Even the Pharisee is impressed by her change of heart, but he does not believe that after such a long sinful life she can be permanently repentant. Maddalena now puts all her trust in Christ. He praises her for her decision, but also explains that freedom from evil is not the goal, but only the path to the “high goal”. Heavenly Love declares itself the winner of the competition. Earthly love realizes its defeat, but wants to continue to disturb Maddalena's peace. The Pharisee realizes that if even a sinner like Maddalena can answer his call, the mysteries of God are unfathomable. Christ and Martha rejoice in Maddalena's repentance. Heavenly Love calls on the spirits of heaven to celebrate their triumph and recognize Maddalena as one of theirs. Earthly love takes refuge in the underworld. Christ promises Maddalena that she will now be saved and walk in peace. She now knows how deceptive the lure of beauty and lust are.

layout

First page of the score,
Vienna 1713

In Maddalena ai piedi di Cristo and Caldara's other early oratorios, the contrapuntal complexity that his later style became since his employment at the Viennese court of Emperor Charles VI is missing . in 1716. The orchestral accompaniment consists only of strings and basso continuo . The arias are mainly in da capo form .

Music numbers

First part

  • 1st symphonia
  • 2nd aria (Amor Terreno): "Dormi, o cara, e formi il sonno"
  • 3. Recitative (Amor Terreno): "Così godea la mente"
  • 4th aria (Amor Terreno): "Deh, librate, Amoretti"
  • 5. Recitative (Amor Celeste, Amor Terreno): "Del sonno lusinghiero"
  • 6. Aria (Amor Celeste): "La ragione, s'un alma consiglia"
  • 7. Recitative (Amor Celeste, Amor Terreno): "Così sciolta da 'lacci de' suoi error"
  • 8. Aria (Amor Celeste, Amor Terreno): "Alle vittorie del celeste / terreno Amor"
  • 9. Recitative (Maddalena): "Oimé, troppo importuno"
  • 10. Aria (Maddalena): "In un bivio è il mio volere"
  • 11. Recitative (Amor Celeste): "Maddalena, nel cielo fissa lo sguardo"
  • 12. Aria (Amor Celeste): "Spera, consolati"
  • 13. Recitative (Amor Terreno): "Troppo dura è la legge"
  • 14. Aria (Amor Terreno): "Fin che danzan le grazie sul viso"
  • 15. Recitative (Maddalena): "Cieli, che mai risolvo?"
  • 16. Aria (Maddalena): "Se nel ciel splendon le stelle"
  • 17. Recitative (Marta, Maddalena): "Germana, al ciel, deh, volgi"
  • 18. Aria (Marta): "Non sdegna il Ciel le lacrime"
  • 19. Recitative (Maddalena): "Omai Spezza quel nodo"
  • 20. Aria (Maddalena): "Pompe inutili che il fasto animate"
  • 21. Recitative (Maddalena, Amor Terreno, Amor Celeste): "E voi, dorati crini"
  • 22. Aria a 2 (Amor Terreno, Amor Celeste): "Il sentier ch'ora tu prendi"
  • 23. Recitative (Maddalena): "Maddalena coraggio!"
  • 24. Aria (Maddalena): "Diletti non più vanto"
  • 25. Recitative (Marta, Fariseo): "Dell'anima tua grande"
  • 26. Aria (Fariseo): "Dove il Re sapiente"
  • 27. Recitative (Marta): "È Cristo il vero tempio, e vero nume"
  • 28. Aria (Marta): "Vattene, corri, vola"
  • 29. Recitative (Maddalena): "Marta, ho risolto"
  • 30. Aria (Maddalena): "Voglio piangere"
  • 31. Recitative (Amor Celeste, Amor Terreno): "A tuo dispetto, Amor Terreno"
  • 32. Duetto a 2 (Amor Celeste, Amor Terreno): "La mia virtude"

Second part

  • 33rd Symphony
  • 34. Recitative (Fariseo): "Donna grande e fastosa"
  • 35. Aria (Fariseo): "Parti, che di virtù il gradito splendor"
  • 36. Recitative (Maddalena, Cristo, Fariseo): "Cingan pure quest'alma"
  • 37. Aria (Maddalena): "Chi con sua cetra"
  • 38. Recitative (Amor Terreno, Amor Celeste, Fariseo, Maddalena): "Maddalena, deh ferma!"
  • 39. Aria (Maddalena): "In lagrime stemprato il cor qui cade"
  • 40. Recitative (Amor Celeste, Amor Terreno, Cristo): "Oh ciel, chi vide mai la penitenza"
  • 41st Aria (Cristo): "Ride il ciel e gl'astri brillano"
  • 42. Recitative (Amor Celeste, Amor Terreno): "A tuo dispetto, Amor Terreno"
  • 43. Aria (Amor Celeste): "Me ne rido di tue glorie"
  • 44. Recitative (Amor Terreno): "Se non ho forza a superar costei"
  • 45. Aria (Amor Terreno): "Orribili, terribili"
  • 46. ​​Recitative (Marta, Maddalena): "Maddalena, costanza"
  • 47. Aria (Marta): "O fortunate lacrime"
  • 48th recitative (Maddalena, Fariseo): "Mio Dio, mio ​​Redentor"
  • 49. Aria (Fariseo): "Chi drizzar di pianta adulta"
  • 50th recitative (Maddalena): "D'esser costante, o mio Giesù, non temo"
  • 51. Aria (Maddalena): "Per il mar del pianto mio"
  • 52. Recitative (Cristo): "L'atto immenco che, uscito"
  • 53. Aria (Cristo): "Del senso soggiogar"
  • 54. Recitative (Amor Celeste): "Di miei dardi possenti"
  • 55th aria (Amor Celeste): "Da quel strale che stilla veleno"
  • 56. Recitative (Amor Terreno): "Vinto nil campo ti cedo"
  • 57. Aria (Amor Terreno): "Se da te fui vinto in guerra"
  • 58. Recitative (Fariseo): "Semper dagl'astri scende"
  • 59. Aria (Fariseo): "Questi sono arcani ignoti"
  • 60. Recitative (Cristo, Marta): "Tu, che qual cerva sete oppressa"
  • 61. Aria (Marta): "O colpa felice"
  • 62. Recitative (Amor Celeste): "Cittadini del Ciel"
  • 63. Aria (Amor Celeste): "Su, su lieti festeggiate"
  • 64. Recitative (Amor Terreno): "Voi, che in mirarmi appresso ogn'or godete"
  • 65th aria (Amor Terreno): "Voi del Tartaro antri orrendi"
  • 66. Recitative (Cristo, Maddalena): "Va dunque Maddalena"
  • 67. Aria (Maddalena): "Chi serva la beltà"

Work history

Emergence

The exact circumstances in which the oratorio was created are not known. Research suggests that Caldara composed it in Venice around 1698. In 1699 there was a performance in Mantua. In 1713 Caldara sent the score to Vienna. This copy was kept in the Austrian National Library .

The libretto is by Bernardo Sandrinelli, who adapted an older text by Lodovico Forni for it. This was set to music by Giovanni Maria Bononcini in 1690 . Sandrinelli on the one hand tightened the plot through cuts and on the other hand added the character of Maddalena's sister Marta. According to the Caldara researcher Brian W. Pritchard, the basic theme of the oratorio remained unchanged: “The inner conflict between good and evil, aligned in the choice that the wavering Maddalena has to make, remains the central subject. Forni bases his libretto solely on the event in Luke 7 : 36-50 [ EU ]; Martha and the name of the penitent in the Luke version come from John 11.1–2 [ EU ] and 12.1–4 [ EU ]. "

Reception in the 20th and 21st centuries

In January 1995, the conductor René Jacobs recorded the work with the Schola Cantorum Basiliensis on a highly acclaimed CD that won the Diapason d'or and the Gramophone Award .

The ensemble Collegium 1704 under Václav Luks played the work on March 20, 2010 in the Annenkirche Dresden (Maddalena: Dagmar Šašková, Amor Celeste: Markéta Cukrová, Amor Terreno: Jana Levicová) and on February 20, 2018 in the Rudolfinum Prague (Maddalena: Francesca Aspromonte , Amor Celeste: Raffaele Pe, Amor Terreno: Sonia Prina ).

On October 5, 2010, the Collegium Marianum performed the piece under Dmitry Sinkovsky in Prague with Hana Blažíková as Maddalena, David Erler as Amor Celeste and Markéta Cukrová as Amor Terreno.

On November 15, 2014 the oratorio was played at the Days of Early Music in Herne by the Accademia Bizantina under Ottavio Dantone . Roberta Invernizzi (Maddalena), Damien Guillon (Amor Celeste) and Delphine Galou (Amor Terreno) sang . The concert was broadcast live on radio WDR 3 .

In 2017/2018 there were performances with the French ensemble Le Banquet Céleste under Damien Guillon at the Festival de La Chaise-Dieu, in the Opéra de Rennes and as part of the music festival Klangvokal in the St. Reinoldikirche Dortmund . The main roles sang in Dortmund Emmanuelle de Negri (Maddalena), Damien Guillon (Amor Celeste) and Benedetta Mazzucato (Amor Terreno).

Recordings

Web links

Commons : Maddalena ai piedi di Cristo  - Collection of images, videos and audio files

Remarks

  1. Written in the score of 1713 "Christo".
  2. Written in the score of 1713 “Madalena”.
  3. a b c d e f g h Missing in the recording by René Jacobs.

Individual evidence

  1. a b Guido Fischer: Heaven never lies. In: Maddalena ai piedi di Cristo program of the Klangvokal 2018 music festival.
  2. ^ Dennis Shrock: Choral Repertoire. Oxford University Press, Oxford 2009, ISBN 978-0-19-532778-6 , p. 215.
  3. ^ Howard E. Smither: A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris. UNC Press Books, 1977, ISBN 0-8078-1274-9 , p. 358.
  4. ^ Brian W. Pritchard:  Caldara, Antonio. In: Grove Music Online (English; subscription required).
  5. a b Kürschner's Musicians' Handbook 2006. Saur, Munich 2006, ISBN 978-3-598-24212-0 , p. 115 ( limited preview in the Google book search).
  6. Antonio Caldara's rarely performed oratorio in the Annenkirche on musik-in-dresden.de, accessed on June 12, 2018.
  7. Performance information for the concert in Prague 2018 , accessed on June 12, 2018.
  8. Program of the Collegium Marianum (PDF) , accessed on June 12, 2018.
  9. a b Program information for the Days of Early Music in Herne on kultur-im-radio.de, accessed on June 12, 2018.
  10. Performance dates of the Le Banquet Céleste ensemble , accessed on June 12, 2018.
  11. Thomas Molke: Contest of earthly and heavenly love. Review of the Dortmund performance from 2018 in Online Musik Magazin, accessed on June 12, 2018.
  12. ^ Lionel Salter: Review of the CD by René Jacobs. In: Gramophone 11/1996, accessed June 12, 2018.