July 22 is the Feast of Saint Mary Magdalene. The music columnist for the Catholic Times gives us her thoughts on the Saint.
The Gospels remember her as the woman who stood by the cross, the one who visited the empty tomb, and the witness who first met the Risen Lord. The Church calls Magdalene the "Apostle of the Apostles" because she was the first witness to convey the joyful news of the Resurrection to the Apostles.
In art history, Mary Magdalene was remembered in a different light: as the woman holding a jar of perfume and wiping Christ's feet with her loose hair, and as the woman washing away her sins with tears. This resulted from the overlap within the Western Church tradition between the "sinful woman" of the Gospel of Luke, Mary of Bethany, and Mary Magdalene. Although distinct from one another, many loved this complex and multifaceted Mary Magdalene.
Why were they drawn to the saint? Her story encompassed sin and grace, the secular and the heavenly, and the beauty of the body and the conversion of the soul. Baroque art enjoyed depicting the spiritual struggles and conflicts taking place within the human heart. Objects such as Mary Magdalene’s tears, perfume, jewels, mirrors, and skulls served as signs of vanity—and symbols representing the transformation of the soul. The popularity of paintings and music featuring Mary Magdalene as a theme during the modern period was due to the same reason.
It is interesting to compare and appreciate the oratorios of the same name by two Italian composers of the same age, both born in 1670. Giovanni Bononcini (1670–1747) presented *Maddalena at the Feet of Christ* (*Maddalena ai piedi di Cristo*) in Modena in 1690. Here, Magdalena's heart serves as a kind of spiritual battlefield. Characters personifying "worldly love" and "heavenly love" argue over her heart. Worldly love whispers of worldly pleasures, while heavenly love persuades her to turn to Christ.
Antonio Caldara (1670–1736) also composed an oratorio of the same name. Released eight or nine years after Bononcini, this work portrays the inner world of Magdalena with even greater delicacy. Caldara’s version added Martha to the cast, expanding Magdalena’s conversion beyond internal conflict into a dynamic event unfolding within relationships and exhortations.
However, Mary Magdalene, whose name the Gospels clearly remember, is more than just a woman weeping at Christ's feet. In the Gospel of John, she mistook the resurrected Jesus for a gardener. But when Jesus called out, “Mary!”, she recognized the Lord.
“Do not cling to me any longer.” The Latin tradition translated this word of Christ as “Do not touch me (Noli me tangere).” The French philosopher Jean-Luc Nancy (1940–2021) also took note of this passage, which Church Fathers and theologians have long interpreted. For Nancy, the risen Christ is one who can no longer be touched or held. This is because 'presence' is revealed not through possession, but paradoxically through 'departure.' Thus, Mary Magdalene transcends being one who holds onto Christ to become a witness proclaiming the news of the resurrection.
The Prayer of Thanksgiving for the Feast of Saint Mary Magdalene liturgically confirms this: “The Lord appeared to Mary Magdalene in the garden, granted her the honor of the apostolic ministry before the apostles, and enabled her to proclaim the joyful news of the new life to the ends of the earth.”
This becomes clear in the contrast between Eve and Mary Magdalene in the garden presented by Pope St. Gregory the Great. “In Paradise, the woman became the cause of death for the man (cf. Genesis 3:6), and the woman who came out of the tomb proclaimed life to the men. Mary conveyed the words of the One who restored life, while Eve conveyed the words of the serpent that brought death.”
The music of Bononcini and Caldara conveys the inner feelings of Mary Magdalene, who wept at Christ's feet. The Gospel reveals where those tears were ultimately meant to be directed. She wept outside the tomb, heard the Lord's voice, recognized Him, and proclaimed His word. The proclamation of the Resurrection was completed beyond mere touching and grasping, through the testimony of Mary Magdalene.