One of the most celebrated news in recent years within Early Music was the discovery of the works of Antonio Caldara, the author who, in conjunction with Handel, best has composed for the voice during the baroque period. The road to its replacement began a little over 25 years when René Jacobs, already brilliantly devoted to conducting, rescued the manuscript of the work Magdalene at the feet of Christ (1697-1698) in Vienna, and took it to record in a mythical multi-award winning recording that still moves us deeply to this day. That extraordinary music Caldara, full of lyricism, of rhetorical games and operatic twists, return the 10 April at 19:00 hours to the National Center for Musical Diffusion (CNDM), under the direction of Jacobs himself to bring it back to light in 1996 and embraced by one of the referential orchestras in the 18th century repertoire, the Freiburger Barockorchester.
The Maddalena de Caldara is much more than a Venetian oratory. It actually functions as a kind of sacred opera that, thanks to the composer's genius, becomes a compendium of beauties where the earthly and the spiritual of the human being compete for making room between his arias. Is, definitely, the old conflict between desire and reason that human beings have needed so much to sing and write. What makes this concert one of the events of the season It's not just the return to the stage of Caldara's privileged score, but the fact of doing it hand in hand with one of the directors who best understands the phenomenon of singing, René Jacobs, and sheltered by what for many years has been and perhaps still is the spearhead of specialized orchestras. Some of the most memorable recordings and concerts of the last two decades have emerged from this splendid tandem..
To face this composition that Caldara imagined so demanding, it is necessary a distribution of guarantees, which in this case leads the coveted soprano Giulia Semenzato, a versatile voice capable of dazzling the Royal Opera House as Sussana in The Marriage of Figaro and to the Aix-en-Provence Festival with his Nannetta in Falstaff. The middle Marianne Beate Kielland and tenor Joshua Ellicott accompany Semenzato in a cast that completes some of the most interesting voices of the baroque scene, as the countertenor (ganador del X The Garden of Voices) Alberto Miguélez Rouco, baritone Johannes Weisser and alto Helena Rasker.
The Freiburger Barockorchester, in excellent shape, returns to Madrid after his successful concert with the Requiem from Biber from last season. Few orchestras can boast of maintain such high quality standards for more than three decades within the historically informed interpretation, and such a marked responsibility when it comes to recover forgotten repertoire through the years. Some of his recordings, as the Don Giovanni Mozart with Jacobs precisely, remain today as indisputable references.
In a music with such a rhetorical charge, it is essential to have a guide that translates the baroque codes to the present day. A) Yes, and as part of the pedagogical initiative “in the court theater” CNDM, to 18:00 hours will take place in the Assembly Hall of the National Music Auditorium a talk by Eduardo Torrico, specialist and chief editor of SCHERZO magazine, and where, in an informed and carefree way, the fundamental secrets of the work will be unraveled .
When René Jacobs made the leap from singing to musical direction, Few could imagine sense of color when dealing with timbre of the orchestra and its development taste for hue. Several decades later and with almost three hundred recordings behind him, we can see him again in action with one of his fetish works, and in charge of the orchestra with which he maintains the best chemistry, all this on stage Symphony Hall of the National Auditorium, with locations ranging from 15 a 40 euros, on sale at the box office of the National Music Auditorium, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.
©Photo Philippe MATSAS