Caldara: Maddalena Ai Piedi Di Cristo

Maria Cristina Kiehr (soprano), Rosa Dominguez (soprano), Bernarda Fink (alto), Andreas Scholl (countertenor), Ulrich Messthaler (bass), Gerd Türk (tenor) & Schola Cantorum Basiliensis, René Jacobs

Bijna zeventig jaar na zijn geboorte werd het oratorium in Venetië geïmporteerd en vanaf 1690 beleefde het een krachtige heropleving in de stad van de Doges - dankzij Caldara. Zijn veertigtallige bijdragen aan het genre hebben zich rond de eeuwwisseling van de 18e eeuw als sleutelwerken doen gelden, waarvan Maddalena ai Piedi di Cristo (Magdalena aan de Voeten van Christus) een soort vaandeldrager zou worden. In het kader van een vast stramien (recitatief / aria) bereikt de componist een verbluffende dramatische intensiteit die doet denken aan Pergolesi of de Vivaldi van het Stabat Mater.

Caldara:
 Maddalena ai piedi di Cristo

"Caldara was the most prolific and famous oratorio composer of his day and this one, written around 1700, is wonderfully rich in fresh and attractive invention. Practically devoid of external action, it's dramatically tense and concentrates on the struggle between the forces of good and evil, the sinner Magdalen being urged towards penitence by her sister Martha; the roles of Christ and a Pharisee are considerably smaller. The work opens arrestingly, with an agitated sinfonia followed by the hypnotic aria 'Dormi, o cara': then come another 27 brief da capo arias with their associated recitatives – ensembles scarcely exist. But there's no lack of variety: some arias, flanked by an orchestral ritornello, are accompanied only by a continuo instrument; others are furnished with different usages of the five-part strings. René Jacobs furthers the dramatic impact by his pacing; and his casting is flawless. He has 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. Both are excellent, but so are all the participants. It seems invidious to single out highlights but outstanding are the aria 'Diletti' for Magdalen (Kiehr) and the succeeding ornate 'Vattene' for Martha (Dominguez) and, even more, two florid arias from Scholl rejoicing in the eventual triumph of good, and two passionately delivered by Fink, of fury by evil at its overthrow. You're urged to acquire this disc."
Grammophone Classical Music Guide - 2010