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Orchestra & Chorus: Das Kleine Koncert & Rheinische Kantorei. Conductor: Hermann Max.
Soloists: Gesù: David Cordier (A); Maria Vergine: Ingrid Schmithüsen (S); San Giovanni: Kai Wessel (A); Maria Maddalena: Larissa Malikova (S); Maria Cleofe: Lenna Susanne Norin (A/Contralto).
Year composed: 1735. Year performed: 2001.
00:00 - Introduzione
ACT I
03:19 - Recitativo: O filglie di Sionne (Maria Vergine (S))
04:23 - Chorus: Misera Madre (Soprano & Alto I, II)
10:16 - Recitativo: Fiero dolor (San Giovanni (A))
11:57 - Aria: Se in te fosse (San Giovanni)
20:13 - Recitativo: Madre! Figlio! (Gesù (A), Maria Vergine)
22:14 - Aria: Ah! se tu costi (Maria Vergine)
32:45 - Rec: Tanto amor che ti giova (San Giovanni, Gesù, Maria Vergine)
36:17 - Aria: A che riserbano i cieli (San Giovanni)
42:58 - Recitative: Ed io, Signor (Maria Maddalena (S), Maria Cleofe (A))
43:59 - Aria: Si la morte (Maria Cleofe)
52:05 - Recitative: Smanie di dolci affetti (Gesù)
52:54 - Aria: S'una sol lagrima (Gesù)
1:03:41 - Coro di Giudei: Si crocifigga il Nazareno (Chorus)
ACT II
1:06:39 - Recitative: Spasimi del cor mio (Maria Vergine, San Giovanni, Maria Maddalena, Maria Kleofe)
1:09:21 - Aria: Se ingrato e ribelle (Maria Maddalena)
1:16:38 - Recitative: Alzate pur il gran trofeo (Gesù, Maria Vergine, Maria Maddalena, Maria Cleofe, San Giovanni)
1:20:23 - Duet Aria: Santo amor, che tanto peni ( Maria Maddalena, Maria Cleofe)
1:28:30 - Recitative: Vinto da tanto amor (Gesù, Maria Vergine, Maria Maddalena, Maria Cleofe, San Giovanni)
1:33:22 - Aria: Che fiero martire (Maria Vergine)
1:46:18 - Recitative: Ma di tragica scena (San Giovanni)
1:48:28 - Coro: Questo e il monte salutare (Finale Chorus)
This is Zelenka at his most operatic. He takes Late Baroque opera and converts it into a powerful sacred art form, giving musical voice to the five figures at John's Calvary scene. Unlike most Oratorios of the Passion (particularly the protestant ones), it is not a translation of what is in the Gospel, but it is a loose interpretation of the thoughts of those present; their experience of the Crucifixion. They mourn in harmony or cry with fierce passion. Their contrasting positions are reflected musically: John's brashness in not understanding Jesus' suffering over the sins of the guilty; Mary Magdalen's anger at the people for their ingratitude; the soothing repentence together with Maria Cleofe; the Virgin Mary's despair over her son. The oratorio is dramatically cloven in two by the Crucifixion chorus which is stark and vehement. Altogether, Zelenka gives us a powerful human drama.
Libretto: Michelangelo Boccardi.
Background painting: Simon Vouet - "The Crucifixion" - 1622.
