La del Soto del Parral (Soutullo &
Angeles Gulin, Antonio Blancas,
Francisco Ortiz. Coro Cantores y Orquesta Filarmonía de España,
c. Rafael Frühbeck de Burgos
Alhambra WD 71582
Maria Espinalt, Juan Gual, Jeronimo
Meseguer, Conchita Panadés, Enrique Esteban, Oscar Pol. Coro y Orquesta
Sinfónica Española, c. Rafael Ferrer
EMI 5 74228 2
Dolores Peréz, Luis
Sagi-Vela, Jesús Aguírre. Coros de RNE, Orquesta de Camara de
Madrid, c. Daniel Montorio
Manuel Ausensi, Tony Rosado, Carlos
Munguia, Teresa Berganza, Gregorio Gil, Manuel Ortega, Coro Cantores de Madrid,
Orquesta Sinfónica, c. Ataulfo Argenta
One of the classiest issues in the BMG Alhambra
catalogue stands head and shoulders above the opposition, with highly
involving, musical performances from real-life husband and wife Blancas
and Gulin as the married couple at the centre of this popular classic.
They are strongly supported by Ortiz, and the comic roles are equally
well played. Frühbeck extracts every ounce of colour from Soutullo
and Vert's passionate if unsubtle score, and both playing and recording are of
unusually high standards for Alhambra.
performance on EMI sounds its age, as does Espinalt's acid
Aurora. Gual's light almost tenorial baritone, with his distinctive fast
vibrato, is a tower of strength as Germán; the supporting cast - notably
the much-loved Panadés - are characterful; and this is the only
performance to include the scene in which some boys taunt the village idiot.
Otherwise it is more heavily cut than the Alhambra, theere are some poor edits,
and on balance it must take second place.
The bizarrely mistracked Orfeon issue - we hear Act 2
before Act 1! - features an incomparable Germán in Sagi-Vela,
whose father Emilio Sagi-Barba created the role, but with Perez not on
her most seductive form, an unsubtle recording and bad transfer, it's not a
recommendable first choice.
Novoson have returned the early, mono Alhambra
recording to the catalogue, on CD at last. Despite some distracting recording
flaws and a streamlined edition of the score the performance is memorable for
Argenta's poetic delicacy in the orchestral and choral numbers,
Ausensi's brawny but not unaffecting Germán, and a warm
Aurora from Rosado in one of her most moving performances on record.
This is good to hear reissued again, warts and all.