Conventional wisdom has long dictated that there is nothing worth reviving to be found among the English-language operatic works written by Spanish composer Isaac Albéniz and librettist Francis Money-Coutts. This notion was largely debunked by the 1998 appearance of musicologist and conductor José de Eusebio's performing edition of Albéniz and Money-Coutts' opera Merlin (1898-1902). As good as that was, de Eusebio's follow-up entry, Henry Clifford (1895), is nothing short of spectacular in any context. Henry Clifford is ...
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Conventional wisdom has long dictated that there is nothing worth reviving to be found among the English-language operatic works written by Spanish composer Isaac Albéniz and librettist Francis Money-Coutts. This notion was largely debunked by the 1998 appearance of musicologist and conductor José de Eusebio's performing edition of Albéniz and Money-Coutts' opera Merlin (1898-1902). As good as that was, de Eusebio's follow-up entry, Henry Clifford (1895), is nothing short of spectacular in any context. Henry Clifford is typified by gorgeous orchestration, which should put to bed forever the idea that Albéniz was ineffective in this regard. It also offers rousing choruses, generous writing for the singers, lovely instrumental set pieces, and a nice overall architectonic flow to the tale told. Whereas enjoying Merlin requires a bit of patience and work on the part of the listener, listeners will be captivated by Henry Clifford within mere minutes of the opening. Henry Clifford should be of interest to...
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