After Polyeucte (1878), Gounod tackled the operatic genre for the last time in 1881 with what is probably his most ambitious work, Le Tribut de...

After Polyeucte (1878), Gounod tackled the operatic genre for the last time in 1881 with what is probably his most ambitious work, Le Tribut de Zamora. The action takes place in ninth-century Spain – from Act Two onwards, on ‘a picturesque site on the banks of the Guadalquivir before Córdoba’. Here Gounod – finally noted more for his neoclassical pastiches (Le Médecin malgré lui and Cinq-Mars) and his ardent Romanticism (Faust and Roméo et Juliette) – was given an opportunity to display his talents as an orchestrator and colorist in an exotic setting. He produced an epic in the tradition of French grand opéra, with numerous ensembles and showpiece airs. Despite an unequivocal success on its first run, despite the stirring national anthem ‘Debout! Enfants de l’Ibérie’, Le Tribut de Zamora sank into oblivion within a few short years. We can now appreciate in this opera precisely what certain detractors complained of at the time: the fact that we meet here once again the irresistible lyricism of Faust and Roméo et Juliette.

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REVIEW:

This is a pitch-perfect reading of a colorful score, with just the right degree of dramatic punch. As Xaïma, Judith van Wanroij is a natural-voiced, old-fashioned soubrette with excellent diction. She’s well paired with Edgaras Montvidas who sings Manoël with a passionate and slightly plangent tone. Even better are Greek baritone Tassis Christoyannis and the American mezzo Jennifer Holloway in the more complex roles of Ben-Saïd and Hermosa. Bru Zane have restored some wonderful music in recent years, but this superbly recorded toe-tapper is a treat, even by their standards.

– Limelight Magazine (AUS)