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sought by many suitors, including Count
Genazahar, who owes her money, and Don Pedro de Vargas, a highly respected and prosperous member of the community. Pepita, however, has eyes only for Don Pedro's son, Don Luis, a handsome young seminarian who flirts with her shamelessly. She confesses her love to the town's vicar, and he in turn urges her to forget about him as he is supposed to pursue a higher calling.
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couple's romance with the aid of Antoñona. Pepita returns from her meeting with the vicar and meets Don Luis, whom she has resolved to bid follow his vocation. Likewise, Don Luis has by now realised that he loves Pepita, but resolves to resist temptation. Just as the two are about to part forever, Antoñona interrupts and makes Don Luis promise to see Pepita once more before he departs town.
58:
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After leaving Pepita, Don Luis overhears Count
Genazahar, who has been recently rebuffed by Pepita, making insulting remarks about her to two officers. Luis becomes incredibly angry and he challenges the count to a duel. The count is wounded in the fight and Luis is victorious. When Don Luis again
542:
Albéniz's music utilizes striking rhythms and decorative chromatic melodic figures which are reminiscent of
Andalusian folk music. His music is lyrical and the "appealing vocal lines slip in and out of a full orchestral texture that continually animates the work". To depict the feast day, Albéniz
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The story opens on a day in May celebrating the feast of the Infant
Saviour. Pepita Jiménez, a 19-year-old girl, has recently been widowed. She had been married to her 80-year-old uncle Don Gumersindo, a rich money-lender, since she was 16 and is now in possession of his large fortune. Pepita is
495:
Meanwhile, Pepita's feisty but loving maid, Antoñona, reveals to Don Pedro her mistress's love for his son, while simultaneously chiding him for raising such a flirt. Though at first surprised by this revelation, Don Pedro swallows his own feelings for Pepita and decides to help along the young
500:
sees Pepita, she cannot keep in her true feelings. Frantic, she informs him that her life will be forfeit for his calling, and she locks herself in her room. Don Luis, fearing her suicide, breaks into Pepita's room and the two unite in an embrace to the happiness of Antoñona.
209:, who tutored him in orchestration. Thus, Albéniz again took up the opera, adding additional instruments and enriching its orchestration. This version was published by Breitkopf & Härtel in 1904. It was first performed in a French translation by Joseph de Marliave at the
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Although Albéniz's 1905 version of the opera was the most successful of the three versions, subsequent productions were sporadic and infrequent, and suffered musical and plot revisions at the hands of other composers.
583:(Don Luis de Vargas), Jane Henschel (Antoñona), Enrique Baquerizo (Don Pedro de Vargas), Carlos Chausson (Vicar), José Antonio López (Count Genazahar) Ángel Rodríguez (1st Officer), Federico Gallar (2nd Officer)
187:, but probably because of production delays the role went to Zilli. The work was not well received in its first form and Albéniz never published this version, deciding instead to immediately revise the score.
152:. The opera was later adapted several times, first by the composer and later by others, into numerous languages and different constructs, including both a two-act version and a three-act version.
311:
559:
writes about this recording that the opera's "many attractive qualities are clear. ...the writing in a gently
Spanish idiom has plenty of colour in the orchestration. ... Vivid sound."
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musico-dramatic innovations, including continuous musical commentary in the orchestra infused with musical references to places and people in the manner of
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used both an opera chorus and a children’s chorus. He also incorporated a significant amount of dance music into the feast scenes of the opera.
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through an amalgamation of three major trends in contemporary musical theater: use of regional folkloric elements, a practice borrowed from
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Continuing to live in Paris, Albéniz, who was primarily a pianist, was more and more influenced by French composers, in particular
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was written in Paris during 1895 and performed as a one-act opera using an
Italian translation of the original English libretto by
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A new critical edition by Borja Marino (based on the 1897 version) was premiered on 28 October 2012 at the
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During 1896 an expanded, two-act version was finished and, in preparation for a production at the
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portraying the title role. Originally the first Pepita was to have been the
Romanian soprano
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Recording location and date: Teatro
Bulevar, Torrelodones, Madrid, July 2004 and June 2005
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in a German translation by Oskar
Berggruen. This version, performed on 22 June 1897 under
8:
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has assembled and recorded a critical edition of Albéniz's 1905 version. The
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at the end due to a broken heart. Sorozábal’s version was performed at the
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composer, changed it into a three-act tragedy with the heroine committing
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In an essay accompanying the 2006 recording, Walter Aaron Clark, writes:
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as Don Luis. This version was also used in the first recording starring
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lyricism in which the orchestra frequently reinforces the voice; and
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Cast list and conductor from the published libretto, reproduced in
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140:. The original opera was written in one act and used an English
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by Albéniz's patron and collaborator, the
Englishman
659:" by Walter Aaron Clark in the booklet accompanying
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148:, which is based on the novel of the same name by
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213:in Brussels on January 3, 1905, under conductor
156:Performance, publication, and recording history
30:For the film also known as Pepita Jiménez, see
160:The first of the composer's three versions of
896:
802:The Penguin Guide to Recorded Classical Music
568:– Orquesta y Coro de la Comunidad de Madrid
136:with music written by the Spanish composer
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175:. It premiered on January 5, 1896, at the
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856:International Music Score Library Project
836:Orquesta y Coro de la Comunidad de Madrid
826:recording and booklet released in 2006 (
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551:The Spanish musicologist and conductor
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761:Isaac Albéniz: Portrait of a Romantic
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318:Revised 2-act version, 3 January 1905
279:Emma Zilli who created the title role
861:Deutsche Grammophon product web page
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750:. L'Almanacco di Gherardo Casaglia
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1185:Opera world premieres at the Liceu
249:as Pepita and released in 1967 on
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285:Roles, voice types, premier cast
237:in Madrid on 6 June 1964, with
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299:Premiere cast, 5 January 1896
759:Clark, Walter Aaron (1999),
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261:Teatro Argentino de La Plata
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516:, Albéniz sought to create
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361:Oreste Gennari (or Genaro)
352:a young theological student
211:Théâtre Royal de la Monnaie
10:
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742:Casaglia, Gherardo (2005).
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572:Conductor: José de Eusebio
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872:Review of 2006 recording
866:Review of 2006 recording
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194:in Prague, published by
105:5 January 1896
1160:Operas by Isaac Albéniz
1155:English-language operas
806:, Penguin Books, 2008,
794:(subscription required)
765:Oxford University Press
690:at the Teatro Argentino
192:Deutsches Landestheater
1175:Operas based on novels
1150:1890s in Spanish music
540:
518:Spanish national opera
484:Setting: A village in
481:Time: Mid-19th century
280:
196:Breitkopf & Härtel
27:Opera by Isaac Albéniz
18:Pepita Jiménez (opera)
785:". In L. Macy (ed.).
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390:Don Pedro de Vargas,
380:Carlotta Calvi-Calvi
278:
235:Teatro de la Zarzuela
177:Gran Teatre del Liceu
132:is a lyric comedy or
117:Gran Teatro del Liceo
1020:Rumores de la Caleta
921:List of compositions
876:Classical CD Reviews
781:Barulich, Frances. "
763:, Oxford, New York:
350:Don Luis de Vargas,
146:Francis Money-Coutts
72:Francis Money-Coutts
1170:Operas set in Spain
591:Deutsche Grammophon
575:Principal singers:
429:a gay young officer
287:
788:Grove Music Online
724:p. 10 of the 2008
579:(Pepita Jiménez),
421:Hippolyte Belhomme
283:
281:
179:in Barcelona with
113:(One act, Italian)
32:Bride to Be (film)
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1048:Cantos de Espagña
813:978-0-14-103336-5
473:
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436:Achille Tisseyre
427:Count Genazahar,
371:her serving woman
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16:(Redirected from
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854:: Scores at the
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655:and the Rise of
651:From the essay "
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593:– 000747202 (CD)
504:Musical analysis
466:Alfredo Serazzi
328:Pepita Jiménez,
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185:Hariclea Darclée
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830:477 6234) with
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384:Jeanne Maubourg
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215:Sylvain Dupuis
162:Pepita Jiménez
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401:Marco Barba
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200:Franz Schalk
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62:The composer
1180:1905 operas
1145:1896 operas
342:(or Zilly)
320:Conductor:
306: [
301:Conductor:
169: [
150:Juan Valera
134:comic opera
119:, Barcelona
95:Juan Valera
46:Comic opera
1134:Categories
1034:Tango in D
774:019816369X
713:Clark 1999
701:Clark 1999
674:Clark 1999
369:Antoñona,
340:Emma Zilli
295:Voice type
207:Paul Dukas
181:Emma Zilli
109:1896-01-05
68:Librettist
1062:Orientale
852:(Albéniz)
672:Cited in
663:477 6234.
563:Albéniz:
547:Recording
535:Leitmotiv
530:Wagnerian
486:Andalusia
469:M. Lubet
463:baritone
433:baritone
364:M. David
345:Mme Baux
1097:Category
1041:Mallorca
1011:Asturias
990:Cataluña
626:Barulich
522:zarzuela
476:Synopsis
397:baritone
251:Columbia
227:zarzuela
142:libretto
101:Premiere
86:Based on
78:Language
1078:La Vega
1069:Córdoba
1055:Prelude
997:Sevilla
983:Granada
736:Sources
589:Label:
335:soprano
231:suicide
107: (
81:English
1140:Operas
1110:Portal
968:Iberia
950:Merlin
928:Operas
810:
771:
447:tenor
409:Vicar
1124:Opera
1004:Cádiz
977:No. 1
960:Piano
598:Notes
357:tenor
314:]
291:Role
271:Roles
173:]
808:ISBN
769:ISBN
524:; a
413:bass
512:In
254:LPs
93:by
48:by
1136::
874:,
828:DG
824:CD
822:,
767:,
661:DG
644:^
606:^
312:ru
310:;
308:no
171:it
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