Giovanni Bononcini composed the four-part oratorio La Conversione di Maddalena for the Habsburg emperor Leopold I in 1701. The musician from Modena, at the time at the apex of his European fame, had at his disposal the best forces of the Imperial Chapel: four singers (two sopranos, a contralto and a bass) of top rate and an instrumental ensemble, limited to strings but adequately consistent to articulate a concert dialectic with tutti-concertino, including soloist pages for the violin, the cello and the viola da gamba. The extremely popular story of Mary Magdalene - a subject among the most fascinating in the Baroque spirituality of the Counter-reformation - is dealt with in original terms by the anonymous author of the libretto, who through a suggestive use of poetry "places on stage" the difficult journey of conversion of the sinner saint. Mary Magdalene is urged by the percussive incitement of her sister Marta (like in the painting of Caravaggio), who at the end of several stages of a contradicting drama plot, will succeed in winning her over to the field of Sacred Love, making vain the offers and threats of Profane Love. Bononcini reacts to the suggestions of the text by producing a score that holds a wonderful variety and a constant novelty of invention, and in which immediate heartfelt expressiveness, conspicuous vocal requirements and many nuances of timbre and harmony concur to define a sculpted profile for each character.
Giovanni Bononcini composed the four-part oratorio La Conversione di Maddalena for the Habsburg emperor Leopold I in 1701. The musician from Modena, at the time at the apex of his European fame, had at his disposal the best forces of the Imperial Chapel: four singers (two sopranos, a contralto and a bass) of top rate and an instrumental ensemble, limited to strings but adequately consistent to articulate a concert dialectic with tutti-concertino, including soloist pages for the violin, the cello and the viola da gamba. The extremely popular story of Mary Magdalene - a subject among the most fascinating in the Baroque spirituality of the Counter-reformation - is dealt with in original terms by the anonymous author of the libretto, who through a suggestive use of poetry "places on stage" the difficult journey of conversion of the sinner saint. Mary Magdalene is urged by the percussive incitement of her sister Marta (like in the painting of Caravaggio), who at the end of several stages of a contradicting drama plot, will succeed in winning her over to the field of Sacred Love, making vain the offers and threats of Profane Love. Bononcini reacts to the suggestions of the text by producing a score that holds a wonderful variety and a constant novelty of invention, and in which immediate heartfelt expressiveness, conspicuous vocal requirements and many nuances of timbre and harmony concur to define a sculpted profile for each character.
8424562209442
Conversione Di Maddalena (2pk)

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Format: CD
Label: GLOSSA
Rel. Date: 05/22/2020
UPC: 8424562209442

Conversione Di Maddalena (2pk)
Artist: Gabriele Palomba
Format: CD
New: Available 29.99
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DISC: 1
MP3
1. La Conversione Di Maddalena, Pt. 1: No. 1, Sinfonia
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2. La Conversione Di Maddalena, Pt. 1: No. 2, Lusinghe Sonore Dell'alma
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3. La Conversione Di Maddalena, Pt. 1: No. 3, Dopo Le Voci Uscite
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4. La Conversione Di Maddalena, Pt. 1: No. 4, Sorgi Omai Dal Fango Immondo
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5. La Conversione Di Maddalena, Pt. 1: No. 5, Del Favellar Divino
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6. La Conversione Di Maddalena, Pt. 1: No. 6, Sin Che Ridon Le Rose Odorose
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7. La Conversione Di Maddalena, Pt. 1: No. 7, Sotto Le Rose Ascoso
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8. La Conversione Di Maddalena, Pt. 1: No. 8, Chi Sol Prezza La Bellezza
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9. La Conversione Di Maddalena, Pt. 1: No. 9, Maddalena Non Più
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10. La Conversione Di Maddalena, Pt. 1: No. 10, Fugge Il Tempo
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11. La Conversione Di Maddalena, Pt. 1: No. 11, Maddalena Infelice
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12. La Conversione Di Maddalena, Pt. 1: No. 12, Odi L'etera
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13. La Conversione Di Maddalena, Pt. 1: No. 13, Al Sibilar Tremendo
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14. La Conversione Di Maddalena, Pt. 1: No. 14, In Tepidi Fiumi
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15. La Conversione Di Maddalena, Pt. 1: No. 15, Quella Che Di Bettania
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16. La Conversione Di Maddalena, Pt. 1: No. 16, Tal Disprezzo A Tanti Onori?
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17. La Conversione Di Maddalena, Pt. 1: No. 17, Ah No, De' Tuoi Natali Rammenta
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18. La Conversione Di Maddalena, Pt. 1: No. 18, Su L'april Del Tuo Bel Viso
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19. La Conversione Di Maddalena, Pt. 1: No. 19, Sì Sì Gradito Amore
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20. La Conversione Di Maddalena, Pt. 1: No. 20, Goderò; Piangerò
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21. La Conversione Di Maddalena, Pt. 1: No. 21, Cieli Che Mai Risolvo
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22. La Conversione Di Maddalena, Pt. 1: No. 22, Cor'imbelle A Due Nemici
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23. La Conversione Di Maddalena, Pt. 1: No. 23, Maddalena, E Pur Anche
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24. La Conversione Di Maddalena, Pt. 1: No. 24, Àrmati Contro Te
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25. La Conversione Di Maddalena, Pt. 1: No. 25, Sì, Sì, Risolvo
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26. La Conversione Di Maddalena, Pt. 1: No. 26, Sì, Sì, Risolvo Sì Col Mio Dolore
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27. La Conversione Di Maddalena, Pt. 1: No. 27, Figlia Non Più Sospiri
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28. La Conversione Di Maddalena, Pt. 1: No. 28, Viver Lieto Fra I Gigli Le Rose
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DISC: 2
Digital download
MP3
1. La Conversione Di Maddalena, Pt. 2: No. 29, Vivace
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2. La Conversione Di Maddalena, Pt. 2: No. 30, Seguite, Seguite
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3. La Conversione Di Maddalena, Pt. 2: No. 31, Al Mormorio Gradito
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4. La Conversione Di Maddalena, Pt. 2: No. 32, Fila D'oro
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5. La Conversione Di Maddalena, Pt. 2: No. 33, Questo Non È Del Cielo
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6. La Conversione Di Maddalena, Pt. 2: No. 34, Quel Volto, Quel Labro
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7. La Conversione Di Maddalena, Pt. 2: No. 25, Oh, Di Genio Indiscreto
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8. La Conversione Di Maddalena, Pt. 2: No. 26, Goderà Ne' Sacri Ardori
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9. La Conversione Di Maddalena, Pt. 2: No. 27, Dal Soglio Dell'empiro
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10. La Conversione Di Maddalena, Pt. 2: No. 28, Oh D'un Alma Che Non Ha Fede
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11. La Conversione Di Maddalena, Pt. 2: No. 29, Nel Periglioso Agone
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12. La Conversione Di Maddalena, Pt. 2: No. 30, Pensieri Che Dite
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13. La Conversione Di Maddalena, Pt. 2: No. 31, Confusa, Irresoluta Maddalena
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14. La Conversione Di Maddalena, Pt. 2: No. 32, Di Lagrime Di Gemiti
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15. La Conversione Di Maddalena, Pt. 2: No. 33, Non Più Cieli, Non Più
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16. La Conversione Di Maddalena, Pt. 2: No. 34, Comincio A Sospirar
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17. La Conversione Di Maddalena, Pt. 2: No. 35, Pompe Fallaci E Vane
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18. La Conversione Di Maddalena, Pt. 2: No. 36, Piangi, Piangi Pur
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19. La Conversione Di Maddalena, Pt. 2: No. 37, Piangi, Piangi Pur
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20. La Conversione Di Maddalena, Pt. 2: No. 38, Sotto Laceri Cenci
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21. La Conversione Di Maddalena, Pt. 2: No. 39, Costanza, Pensieri, Costanza
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22. La Conversione Di Maddalena, Pt. 2: No. 40, Dunque Fian De Le Rose
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23. La Conversione Di Maddalena, Pt. 2: No. 41, Tenerissimi Sospiri
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24. La Conversione Di Maddalena, Pt. 2: No. 42, Pur Alfin Dal Tuo Seno
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25. La Conversione Di Maddalena, Pt. 2: No. 43, Al Nume Umanato
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More Info:

Giovanni Bononcini composed the four-part oratorio La Conversione di Maddalena for the Habsburg emperor Leopold I in 1701. The musician from Modena, at the time at the apex of his European fame, had at his disposal the best forces of the Imperial Chapel: four singers (two sopranos, a contralto and a bass) of top rate and an instrumental ensemble, limited to strings but adequately consistent to articulate a concert dialectic with tutti-concertino, including soloist pages for the violin, the cello and the viola da gamba. The extremely popular story of Mary Magdalene - a subject among the most fascinating in the Baroque spirituality of the Counter-reformation - is dealt with in original terms by the anonymous author of the libretto, who through a suggestive use of poetry "places on stage" the difficult journey of conversion of the sinner saint. Mary Magdalene is urged by the percussive incitement of her sister Marta (like in the painting of Caravaggio), who at the end of several stages of a contradicting drama plot, will succeed in winning her over to the field of Sacred Love, making vain the offers and threats of Profane Love. Bononcini reacts to the suggestions of the text by producing a score that holds a wonderful variety and a constant novelty of invention, and in which immediate heartfelt expressiveness, conspicuous vocal requirements and many nuances of timbre and harmony concur to define a sculpted profile for each character.