CALDARA MADDALENA AI PIEDI DI CRISTO PDF

CALDARA MADDALENA AI PIEDI DI CRISTO PDF

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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Caldara 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.

Crizto all-time greats Read about the artists who changed the world of classical music. 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. The most prolific composer in this genre was Antonio Caldara c ; New Grove lists 43 oratorios in addition to many operas and there maaddalena probably more that have been lost, written for patrons in his native Venice, Rome, Florence, Mantua, and Vienna.

It is one czldara the treasures of the early music catalogue.

Pieci there is no lack of variety: Maddalena ai Piedi di Cristo Magdalene at the feet of Christhowever, was one of madsalena earliest, having been given in Venice probably in or The tight and cohesive libretto by Lodovici Forni also used by Bononcini in is based on Luke 7: 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.

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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 caldata by her sister Martha: Maria Cristina Kiehr has a lovely, clear voice and conveys Maddalena’s emotions with much color and feeling. Maddalena ai piedi di Cristo.

The performances took place in oratories prayer halls constructed above church naves and were intended to be attractive but edifying entertainments. In addition to these protagonists, three further characters have a subsidiary role: Her soprano is a lovely instrument, its fast vibrato only helping to create for pjedi character an appropriate impression of vulnerability.

The music is conventional for its time.

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. Skip to main content. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your caldars recordings from the past, you will find it all in our full-searchable Maddalfna Database.

Marta the righteous sister of Mary, a cynical Pharisee and Christ himself.

Handel probably met Caldara maddalea Rome, and may well have learned something from him; at any rate, the comparison is not at all in Caldara’s disfavor. This is an issue to be recommended with all possible enthusiasm: As an Amazon Associate I earn from qualifying purchases.

A word of praise, xristo, for the clear diction and insightful approach to the text brought by all the singers, not always gainsaid with allegorical librettos that today can seem arcane or even irrelevant.

Less praiseworthy was the unnecessary decision to omit the da capo repeats of ei arias. While the new recording cannot and does not displace the Jacobs, it is worthy to stand alongside it.

Caldara: Maddalena ai piedi di Cristo

Caldara Maddalena ai piedi di Cristo Maddalena ai piedi di Cristo. Composition Artist Credits Maddalena ai piedi di Cristo.

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The sound is excellent. Home News Contacts Copyright. 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. Rene Jacobs furthers the dramatic impact by his pacing of the recitatives, in particular; and his casting is flawless. 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 inkling that this one written around would prove to be so wonderfully rich in fresh and attractive invention.

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. 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.

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Antonio CALDARA – Maddalena ai piedi di Cristo

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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. Le Banquet Celeste, Damien Guillon, alto, director