Alessandro Scarlatti composed an oratorio titled La Madeleine pénitente when he was twenty-five during his first stay in Rome. The work was immediately successful, with around ten performances before the start of the following century. Three surviving manuscripts show how popular the piece was. The text was written by Cardinal Benedetto Pamphili, who later created the libretto for Handel's Trionfo del Tempo, reusing the same theme and sometimes the same words. Scarlatti's La Madeleine pénitente does not yet feature the complex instrumentation found in his later works, such as the Neapolitan Giuditta of 1693 or the Venetian Caino of 1707. The oratorio requires three castrati (two sopranos and one contralto), two violins, an alto, and a continuo bass. Despite the limited resources, Scarlatti uses fluid and expressive writing, incorporating nearly thirty arias and duets (rarely with da capo) that blend seamlessly with singable recitatives. For example, the passage following the appearance of Youth (scenes 4 and 5 of the first part) unifies these elements into a single sequence with changing rhythms. In 1993, Fabio Biondi released the first recording of the work under the title Maddalena (Opus 111). The Ensemble Céladon offers a different interpretation of the same piece. Both versions are based on the most complete manuscript, the one from Modena. Biondi and Paulin Bündgen interpret the work differently. Biondi sometimes cuts the first part of the bipartite arias (AA'), compensating by adding sinfonie borrowed from Corelli, Ziani, or Scarlatti himself. Bündgen avoids these additions (except for the opening, which is beautifully realized from a keyboard sonata) and restores all the stanzas, including those of the first and last arias of the Penance in the second part, as well as the final, very vocal aria of Madeleine. The choice of instruments for the continuo also differs: Biondi uses a theorbo and lute, while Bündgen introduces a double bass. While the historical accuracy of this choice may be debated, the double bass provides more support for the recitatives and increases the drama, especially when combined with the organ and cello, which makes the cantabile more lyrical. The two vocal ensembles contrast as well. In Biondi's version, the Penance is sung by a female contralto, while in Bündgen's interpretation, it is performed by a countertenor (the conductor himself). The disembodied timbre of the countertenor is compensated by the finesse and expressiveness of the singing, with delicate ornamentation in the upper register. The Youth of Rossana Bertini was a highlight of the Italian ensemble, but Lise Viricel's high-pitched and somewhat tight emission lacks the same warmth. On the other hand, Marie-Frédérique Girod's fully developed, intensely luminous voice makes her a touching Madeleine, whose emotional journey is felt with empathy. Overall, this new interpretation resonates more with modern sensibilities than the previous one. However, the fact that this music can be interpreted so differently is a testament to its richness and enduring appeal.