Customer Reviews

Albeníz: Pepita Jiménez

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This is a 2006 World Premiere studio recording of the first complete rendition of Isaac Albéniz's lyric comedy (although I would take issue with the comedic aspect of this opera, thinking of it more as a romantic drama) "Pepita Jimenez."
Sung in English as it was intended to be performed -- although when it was first sung it was translated into Italian -- this version of Albéniz's work is most true to what the composer initially intended. It is the third and final version of this work. (The first version contained one act, 1895; the second version, 1896, contained two acts with an expanded orchestral element; and the third revision, circa 1899-1904, contained additional enhancements to the orchestral work.) There is a detailed history of how this opera came about, its many revisions and the difficulty of finding a home for Spanish opera "Opera Espanola" for a population that preferred the lighter zarzuela to what many considered a genre better suited for Italian, German or French audiences.
Based on a novel of the same name by Juan Valera, the libretto by Francis Burdett Money-Coutts, tells the tale of Pepita Jiménez's (Carol Vaness) infatuation with a young seminarian Don Luis de Vargas (Plácido Domingo) and of his mutual feelings for her, inhibited by his commitment to the life of a priest. In the end love conquers.
Conducted by José de Eusebio, leading the Orquesta y Coro de la Comunidad de Madrid, I found everything in this offering exactly what I look for in opera, as explained rather exactly by the publisher's notes. The opera combines three major trends in music style: the storyline, of course, is regional in its orientation, borrowing from zarzuela; the lyricism is, indeed, Pucciniesque, lending rich, lush and romantic orchestration to support the text and finally, there is a strong a hint of Wagnerian-like passages that reinforce the more dramatic elements and give this opera its musical depth. The short version of all this is simple: this is a wonderful and expressive operatic score that contains moving melodies accompanied by solid and rich orchestral flourishes throughout. I listened to this opera for the first time and liked it from the outset, which is a lot more that can be said for many of the current offerings that require time to appreciate, if appreciated at all.
The sound is decidedly Spanish and at times majestic in its presentation. The sound quality if superb. As an aside, I much prefer the studio versions (which this is) to live recordings. As for the singing it is solid and expressive. It's always reason to celebrate when a long lost work is introduced; the question is always: is it worth buying. In this case, Isaac Albéniz's "Pepita Jiménez" is definitely worth owning. My guess is, you will listen to it often because of its moving, melodic score. It's what all good opera sounds like. This review appeared at OperaOnline.us.

This is absolutely delightful! I was expecting it to be an interesting curiosity to enjoy from time to time but instead I have quite fallen in love with it. The music is endlessly charming as it sparkles, dances, teases... and grieves. For, although a "comic opera", it is laced with a sweet sadness and melancholy that is very touching. To me the atmosphere is nearly as tragic as comic and the passionate emotions of the characters deserve to be taken seriously. Certainly Domingo does so as Don Luis, torn between love and the higher calling of priesthood. He richly colors words and sings with that dramatic conviction which has only increased with passing years. He helps to build the finale to an incredible level of intensity.

All the singers are most enjoyable. Vaness is very engaging as Pepita- warm and loving; not too sweet; melancholy in her desperate plight. The faithful, if meddlesome!, nurse and Luis' father are both delightfully fun and well characterized as they bring the humor and earthy common sense into the work. There just isn't a dull spot in this dazzling recording of a lovely opera that sweeps along irresistibly from beginning to end.

Attractively packaged by DG with the booklet inside the jewel box. Interesting notes on the composer and development of the opera. Also notes by the conductor on sources, comparison with the novel the opera is based on, etc. A good synopsis and libretto. Everything in English, Spanish and French. Recorded in Madrid July '04 and June '05.

Pepita Jiménez postdates Albeniz's Wagnerian high drama Henry Clifford and predates his Wagnerian high drama Merlin. As opposed to the other two operas, Pepita Jiménez actually sounds rather Spanish - with Spanish-sounding tunes and rhythms. It is therefore slightly surprising that I found it less compelling than the two fully non-Spanish operas mentioned (though overall even the style of Pepita is relatively cosmopolitan). It may also strike some as curious that this opera is set in English - once again Albeniz's librettist was Francis Burdett Money-Coutts, and once again the libretto contains some parts that are, shall we say, of questionable merit (although this time around Money-Coutts had Juan Valera's novel to use as a basis). This recording is billed as the first ever complete recording, which depends, I guess, on how you look at it - de Eusebio has produced a version using the composer's own early manuscripts (the other recordings used versions prepared by Sorozábal and Josep Soler, respectively).

The opera takes place over the course of one day and concerns the love of the young, wealthy widow Pepita for the aspiring priest Don Luis de Vargas. It is rather uninteresting and not made better by Money-Coutts's sometimes rather helpless adaption. Musically, the Spanish influences are clearly present but filtered through Wagner (e.g. leitmotifs) and verismo. The result is rather wordy - there are nice tunes and passages but they are rarely allowed to spring into full-blown arias. So at the end of the opera the listener may easily feel a little short-changed. For all the romantic gesturing, the climaxes are missing. Nevertheless there are many memorable passages here as well, but as with the other operas Albeniz is at his best in the beautifully scored, purely orchestral section.

And the orchestral playing is superb; warm and lush and splendidly paced and shaped by de Eusebio. The choral contributions are on the same level; gorgeous, rich and appropriately dramatic. As for the singers, well, Domingo is as youthful sounding as ever - remember, he is playing a young man aspiring to priesthood, and he makes his character sound young. In fact, this is a splendid performance from what must be one of the great singers of all time - beautifully shaped and phrased, full of character, warmth and sweetness. Carol Vaness is good at providing the right character and variety, but unfortunately the voice doesn't bow to her intentions; it is too often wobbly and less than beautiful - but I wish to emphasize that much is made up for in terms of characterization. The lesser roles are overall splendid, with special praise going to the ever-convincing Jane Henschel. Presentation is excellent and the set is recommended to any lover of opera from this period - but Henry Clifford should be the first priority.

Until recently I did not know that Albéniz had composed operas. I discovered this work by chance and loved it. It has the typical Spanish flair that I like, which you also find in Albéniz' piano and orchestral compositions. The action is similar to numerous Baroque operas: an elderly man (king) wamts to marry a young, beautiful girl (princess). When he discovers that his son loves this woman, too, he steps back and lets his son go ahead. In "Pepita Jiménez" the son is torn between earthly and heavenly love.

The last scene is very dramatic and passionate, this is what you expect from great opera.

If you like Spanish music, you will enjoy this work.