Antonio Vivaldi’s Magnificat, a choral masterpiece, sets the Latin text of the Virgin Mary’s hymn of praise from the Gospel of Luke (1:46–55) to vivid, expressive music. Composed around 1717–1719, with revisions in the 1720s, it reflects Vivaldi’s role as maestro di coro at the Ospedale della Pietà, a Venetian institution for orphaned and abandoned girls, where he crafted sacred works for its talented female musicians. The piece, scored for soloists, choir, and orchestra, comprises nine movements, alternating between exuberant choruses and intimate arias, showcasing Vivaldi’s signature flair for dramatic contrasts and melodic vitality.

Historically, the Magnificat emerged during Vivaldi’s prolific sacred music period, when Venice’s musical culture thrived on virtuosity and emotional depth. Likely performed by the Ospedale’s all-female ensemble, it blends Baroque exuberance with devotional intensity, its polyphonic textures and rhythmic drive amplifying the text’s themes of divine justice and mercy. The work exists in multiple versions (notably RV 610, 610a, and 611), with later revisions adding solo movements to suit specific singers, reflecting Vivaldi’s pragmatic adaptability.

Its structure—compact yet varied—uses tonal shifts and dynamic orchestration to mirror the text’s emotional arc, from humble exultation to triumphant glory. The opening chorus, with its bold unison, grabs attention, while movements like “Et misericordia” weave tender, lyrical lines. Vivaldi’s genius lies in balancing accessibility with sophistication, making the Magnificat a staple of Baroque sacred music, still performed widely for its vibrant spirituality.