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Last updated March 20th Mail me or visit my Homepage. Such was the scope and quality of Vives ' response that the librettists felt the work would succeed better as through-written opera. The composer determined to stick to his ideal of a three act zarzuela with spoken dialogue, and the results are problematic. La villana is a long score of considerable complexity, needing world-class opera singers to make its effect; yet those same singers must also be able to cope with substantial passages of blank verse dialogue, all of which makes ideal performance difficult to envisage.
Lady with a Hare c. Although Vives does not attempt to create a consistent mediaeval ambience, there are hints of older Spanish music about his score.
Don Fadrique's Serenata , with its major-minor shifts and antique harmonies, is reminiscent of the neo-renaissance work Manuel de Falla produced during the 's: both composers owed their knowledge of this distant musical heritage to their teacher Pedrell. Elsewhere, notably with the heraldic pageantry of the thrilling Preludio to the last scene, a romantic nationalism is at work which parallels the operatic world of the Czech Smetana in the previous century.
La villana ultimately stands or falls by the beauty of its lyric inspiration. Perhaps Mahler is called to mind by the orchestration, notable for unexpected imaginative touches, such as the use Vives makes of the ethereal sound of the celesta at crucial moments. If La villana is ultimately too top-heavy to be accounted a complete artistic success, zarzueleros can ill afford to overlook a score and text of such ambition and quality.
