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Maddalena ai piedi di Cristo Magdalene at the feet of Christ - an oratorio in 2 parts
Maddalena Maria Cristina Kiehr soprano
Orchestra of the Schola Cantorum Basiliensis
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HARMONIA MUNDI HMC 905221.22
2 discs [126'27"] full-price
by Chia Han-Leon
As those of you who may have read my review of Vaticini di Pace may know, Antonio Caldara is a contemporary of Vivaldi whose talent and music remains largely neglected - most of his huge treasure trove of 87 operas and 40 oratorios are yet to be recorded. But it is definitely just a matter of time.
Left: Detail of Magdalene at the feet of Christ,
Right from the beginning, a Vivaldian overture openly and brightly advertises the sheer delightful fertility of Caldara. If you think Caldara is just a second-rate Vivaldi, think again - this is an original voice with his own melodies! Many of the arias you will hear in the oratorio are sung by Amor Terreno (Earthly Love) and Amor Celeste (you guessed it - the good counterpart, Celestial or Divine Love).
As in the Christmas Cantata, Caldara again shows his gift for the most heavenly lullabies. Divine Love enters dramatically yet calmly, but most musically, to interrupt "Love's treacherous charm", bursting into one of my favourite arias in the oratorio, the rousing but completely graceful La ragione, s'un'alma conseglia ("When Reason counsels the soul") Listen how on the second round of the aria, Scholl effectively and brilliantly ornaments his lines. We are only 10 minutes into the first disc!
Rosa Dominguez's Marta can be demonstrated with the following aria Vattene, corri, vola ("Go now, run now, fly now" 1: track 24) - its Handelian orchestral accompaniment compliments the little leaps of encouragement she sings to her sister, with its cheerful runs and her nicely rubato'ed trills. What music!
Believe it or not, all the examples above were chosen randomly, and they all come from the first disc only!
Even the recitatives of the oratorio are no standard harpsichord-flourish-"blah blah blah" pieces to be ignored - they stand quite well as independent musical pieces, dramatic yet pointed, each of the singers capturing the theatrics of their lines with much relish (Try tracks 4 and 6 of Disc 2). The orchestra of the Schola Cantorum Basiliensis under the inspired direction of René Jacobs paint paradises with the melodious outpouring of the composer, and hurtle with their lives in the fast-paced ariosos and allegros. Everyone is a delight!
This album contains a blindingly amazing wealth of music. If you love Baroque music, musical drama, whether instrumental or vocal, or even just a good melody, make sure you try this out!
This set is available at HMV (The Heeren). You may also find it at Borders (Wheelock Place).
Chia Han-Leon is another one of those night people who does most of his work between 10pm and 2am.
028: 16.11.97; up.8.5.1999 ©Chia Han-Leon
This is the kind of disc that make reviewers drop all their half-done articles and immediately begin reviewing it (after they stop drooling and pick up their dropped jaws). Why? Because the music is incredible, revelatory, completely refreshening my love of Baroque music. Simply put: I dare you (especially those of you who can't resist Baroque music) to find a single bad track on these CDs.
This multi-award-winning album, widely praised in every review of it I've encountered, deserves all that and more! Redundant this review may be, I just have to show you how much I love this music, and to tempt those of you who have yet to get a copy (Harmonia Mundi is now easily available at HMV or Borders) to go buy one now. Now!
from "The Lamentation" (c.1303-5) by Giotto (c.1267-1337).
These are delivered to aural enrapturement by alto Bernarda Fink and the countertenor, Andreas Scholl (right), surely two of the best in the business. Just listen to the first two arias by Amor Terreno, urging the listener to blissful sleep. Or Andreas Scholl - technical skill wedded to a delightful sense of decoration, bursting into a flurry of trills and turns when you least expect it.
The Argentinian (all the women soloists are from South America) soprano Maria Cristina Kiehr (right) sings her Magdalene with presence and much pleasure. There is the lamenting Pompe inutili ("Worthless finery" Disc 1, track 18), with its extended cello-surging melisma on the word "tormento" and her florrid command to the "vile images of sin" to drop to the ground; and there is the triumphant yet humbly jubilant diletti non più vanto ("Delights, you shall no longer..." 1:22) with its fading trill into the distance and an almost happy gavotte melody.
Later it is the turn of Divine Love to laugh in triumph (2: track 11) while Earthly Loves sings the equivalent of "The horror! The horror!" in musical hell (2: track 13). Indeed, it is such a wonder that even in music of anger/fury/evil, Caldara conveys a perfect balance of lyric melody and forceful arioso-type momentum. In Amor Terreno's Orribili, terribili ("Horrible, terrible /Furies of Erebus"), Bernada Fink's stupendous fear mixed with anger is protrayed awesomely in her furious tremolos, supported by the raging orchestra.
Ring of Drama
Back to the Classical Index!... or read previous Baroque music reviews and features in the Inkpot archives.
Readers' Comments
From: Fabien (eea70@cict.fr / Friday, April 16, 1999 at 18:41:10)
Incredible music!! Better than some well-known pieces. I hope this piece will be known, from now, as one of the best oratorio ever done. A lot of emotions! Thank you.
From: Dave McIntosh (dsage@funtv.com / Sunday, May 2, 1999 at 12:28:50)
I am in agreement with the reviewer of Caldara's oratorio. This master's work is largely unapreciated and unknown. Yet, what I have heard from him has greatly impressed me. I am looking forward to buying Caldara's oratorio reviewed here and hopefully, more recordings of his music in the near future.
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