Each of them has something to offer, ts. You might consider getting out the original piano score and deciding for yourself what to keep from each. This sounds like work, but there really isn't much to change, Albeniz wrote guitar music and it fits on the guitar, pretty much.
There are several schools of thought -- 1) playing what he wrote, as closely as possible, note-for-note, 2) playing what you think he was thinking if he was playing guitar and 3) arranging your own interpretation of the piece, not just in terms of dynamics and phrasing, but notes. The Llobet is like that, what was he thinking?
The gold standard on Spanish music is the piano playing of (the late) Alicia delaRocha. The earlier Barruecco recording is worshipful of her playing and the arrangement is respectful in this regard. In terms of remaining faithful to the composer, then, play Manuel's.
Don't take my word for it. Get out the score, listen to delaRocha, and take note of his solutions to fitting it on the guitar, note-wise and sound-wise. Albeniz translates guitar sounds onto the piano and our task it to re-translate them back to the guitar. Sometimes, something is lost in re-translation.
If your are going to play Sevilla, though, why not play the whole book? This is where Manuel got it right. If you plan on playing more of them, and don't feel like writing it out yourself, start with the Barruecco.
I memorized the Llobet and then I realized he was playing his personal version, had to relearn it from the Barruecco or those who know would laugh.
Kevin Collins, Amherst, Mass, USA All rights reserved.