This album was nominated for the 2008 Grammy Award for "Best Opera Recording."
Than this more strange they scarce do come. That homely sentiment, with syntax influenced by the extraordinary English libretto, might be a natural first reaction to this otherwise very Spanish opera. Readers will not come to it utterly unprepared. Merlin and Henry Clifford have preceded it in the CD catalogues, both of them products of this collaboration between Albéniz and his English patron Francis Burdett Money-Coutts. Pepita Jiménez is based on a novel of provincial Spanish life by Juan Valera, more home-grown to Albéniz than to MoneyCourts who, it must be said, wrote a brand ofRead more English all his own irrespective of time or place.
The peculiarity of the English is not the only oddity. It seems that throughout the opera's long-interrupted history it has been a matter of opinion as to whether the heroine lives or dies at the end, and whether, if living, she is united with young Don Luis in a conventional happy ending (and if so, is it truly happy, in that he will have had to renounce his intentions of entering the Church?). I think I know the answer to that one (the music tells us), but am puzzled by Act 1 ending with Luis going off to fight a duel of which nothing more appears to come in Act 2. There is also a musical anomaly: Act I is mostly loud and restless, Act 2 slower and more gentle. I much prefer Act 2.
The recording, like its predecessors, is conducted by José De Eusebio, to whom in large measure it owes its existence. He has edited the score, based on the revised version of 1905, nine years after the Barcelona premiere. As with Merlin, he has the support of Plácido Domingo, in fine voice and singing with conviction. Carol Vaness no longer has the freshness or firmness of voice to do full justice to the heroine's music but gives unstintingly and effectively. In the important role of the maid, Antoñona, Jane Henschel brings strong character and a sturdy voice. All have difficulty from time to time in getting their words across, partly because clear enunciation does not always ensure clarity, partly because the orchestra sometimes overwhelms. The "spectacularly beautiful and successful orchestration" is an aspect of the score which Eusebio has been most determined to demonstrate. He also claims "objective criteria and emotional sincerity"; to both of which, as Money-Courts might put it, he shall have no gainsaying from me.
-- John Steane, Gramophone [Awards Issue, 2006] Read less
Works on This Recording
Pepita Jiménezby Isaac Albeniz Performer:
Carol Vaness (Soprano),
Placido Domingo (Tenor),
Carlos Chausson (Bass Baritone),
Jane Henschel (Mezzo Soprano),
José Antonio Lopez (Baritone),
Federico Gallar (Tenor),
Angel Rodriguez (Baritone),
Enrique Baquerizo (Baritone)
José De Eusebio
Madrid Community Chorus,
Madrid Community Orchestra
Period: Romantic Written: 1896; Spain Venue: Teatro Bulevar, Torrelodones, Madrid Length: 90 Minutes 52 Secs. Language: Spanish Notes: Teatro Bulevar, Torrelodones, Madrid (07/2004); 06/2005
Pepita Jiménez / Act 1: Donna Pepita! Pepita
Pepita Jiménez / Act 1: Pepita loves my Luis?
Pepita Jiménez / Act 1: Who eats a sour banana
Pepita Jiménez / Act 1: He promised her to learn to ride
Pepita Jiménez / Act 1: You've pulled the blind
Pepita Jiménez / Act 1: So, here's the shrine
Pepita Jiménez / Act 1: Ssh! Pepita!
Pepita Jiménez / Act 1: Don Pedro! Always handy!
Pepita Jiménez / Act 1: Come, come my little acolyte
Off the beaten path.October 3, 2012By Keith Messersmith (Ashland, PA)See All My Reviews"After 50 years of complete opera collecting, I am at the stage where I like something I have never heard before. This opera fills the bill, and such an enjoyable experience. I have both the Henry Clifford, and the Merlin recordings, and I have to agree that this is Albeniz' masterpiece. A spanish masterpiece. Not very long, and very tuneful. Congratulations to everyone for making these three recordings available, and to Domingo for his invaluable star power."Report Abuse
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