Lakmé
Lakmé is an opera in three acts by Léo Delibes to a French libretto by Edmond Gondinet and Philippe Gille.
The score, written from 1881–1882, was first performed on 14 April 1883 by the Opéra-Comique at the Salle Favart in Paris, with stage decorations designed by Auguste Alfred Rubé and Philippe Chaperon, Eugène Louis Carpezat and Antoine Lavastre, and Jean-Baptiste Lavastre. Set in British India in the mid-19th century, Lakmé is based on story "Les babouches du Brahamane" and novel Le Mariage de Loti by Pierre Loti.
The opera includes the popular Flower Duet for a soprano and mezzo-soprano, performed in act 1 by Lakmé, the daughter of a Brahmin priest, and her servant Mallika. The name Lakmé is the French rendition of Sanskrit Lakshmi, the name of the Hindu Goddess of Wealth. The opera's most famous aria is the "Bell Song" in act 2.
In contrast to other French operas of the period, such as Bizet's The Pearl Fishers and Massenet's Le roi de Lahore, Lakmé does more than simply capture the ambience of the Orient seen through Western eyes. The subject of the opera - which has a contemporary setting - is in fact the colonialism of the British army in India, focusing on their poor attitudes towards Indian cultural systems and the Hindu religion. It was suggested by Gondinet as a vehicle for the American soprano Marie van Zandt.
The Indian fashion brand Lakmé, established in 1952 by the Tata Group and now owned by Hindustan Unilever, is named after the opera.
Performance history
Following its premiere at the Opéra Comique in 1883, Lakmé reached its 500th performance there on 23 June 1909 and 1,000th on 13 May 1931. A series of performances took place at the Théâtre Gaîté Lyrique Paris in 1908, with Alice Verlet, David Devriès and Félix Vieuille.Roles
Synopsis
Act 1
The Hindus go to perform their rites in a sacred Brahmin temple under the high priest, Nilakantha. Nilakantha's daughter Lakmé and her servant Mallika are left behind and go down to the river to gather flowers where they sing the "Flower Duet". As they approach the water at the river bank, Lakmé removes her jewellery and places it on a bench. A party of British officers, Frederic and Gérald, arrive nearby while on a picnic with two British girls and their governess. The British girls see the jewellery and request sketches; Gérald volunteers to stay and make sketches of the jewellery. He sees Lakmé and Mallika returning and hides. Mallika leaves Lakmé for a while; while alone Lakmé sees Gérald and, frightened by the foreigner's incursion, cries out for help. However, simultaneously, she is intrigued and so she sends away those who had responded to her call for help when they come to her rescue. Lakmé and Gérald begin to fall in love with each other. Nilakantha returns and learns of the British officer's trespassing and vows revenge on him for his affront to Lakmé's honour.Act 2
At a bazaar, Nilakantha forces Lakmé to sing in order to lure the trespasser into identifying himself. When Gérald steps forward, Lakmé faints, thus giving him away. Nilakantha stabs Gérald, wounding him. Lakmé takes Gérald to a secret hideout in the forest, where she nurses him back to health.Act 3
While Lakmé fetches sacred water that will confirm the vows of the lovers, Fréderic, a fellow British officer, appears before Gérald and reminds him of his duty to his regiment. After Lakmé returns, she senses the change in Gérald and realises that she has lost him. She dies with honour, rather than live with dishonour, killing herself by eating the poisonous datura leaf.Music
In conventional form and pleasant style, but given over to the fashion for exoticism, the delicate orchestration and melodic richness earned Delibes a success with audiences. The passionate elements of the opera are given warm and expressive music, while the score in general is marked by subtle harmonic colours and deft orchestration. Oriental colour is used in prayers, incantations, dances and the scene in the market.The act 2 aria "Où va la jeune Hindoue?" has long been a favourite recital piece for coloratura sopranos.
In recent years, the Flower Duet in act 1 has become familiar more widely because of its use in advertisements, in particular a British Airways commercial, as well as in films. The aria sung by Lakme and Mallika was adapted for the theme "Aria on air" for the British Airways "face" advertisements of the 1980s by music composers Yanni and Malcolm McLaren.
Musical numbers
- Prelude
Act 1
- No. 1 Introduction: "À l'heure accoutumée"
- Prayer: "Blanche Dourga"
- No. 1b – Scene: "Lakmé, c'est toi qui nous protège!"
- No. 2 – Duet : "Viens, Mallika, les lianes en fleurs... Dôme épais, le jasmin"
- Scene: "Miss Rose, Miss Ellen"
- No. 3 – Quintet & couplets: "Quand une femme est si jolie"
- Recitative: "Nous commettons un sacrilège"
- No. 4 – Air: "Prendre le dessin d'un bijou"
- No. 4b – Scene: "Non! Je ne veux pas toucher"
- No. 5 – Recitative & Strophes: "Les fleurs me paraissent plus belles"
- No. 5b – Recitative: "Ah! Mallika! Mallika!"
- No. 6 – Duet: "D'où viens-tu? Que veux-tu?"
- No. 6b – Scene: "Viens! Là! Là!"
Act 2
- Entr'acte
- No. 7 – Chorus & March: "Allons, avant que midi sonne"
- No. 7b – Recitative: "Enfin! Nous aurons du silence!"
- No. 8 – Airs de danse: Introduction
- No. 8 – Airs de danse: Terana
- No. 8 – Airs de danse: Rektah
- No. 8 – Airs de danse: Persian
- No. 8 – Airs de danse: Coda avec Choeurs
- No. 8 – Airs de danse: Sortie
- Recitative: "Voyez donc ce vieillard"
- No. 9 – Scène & Stances: "Ah! Ce vieillard encore!""
- No. 9b – Recitative: "Ah! C'est de ta douleur"
- No. 10 – Scène & Légende de la fille du Paria :
- No. 11 – Scène: "La rage me dévore"
- No. 12 – Scène & Choeur: "Au milieu des chants d'allegresse"
- No. 12b – Recitative: "Le maître ne pense qu'à sa vengeance"
- No. 13 – Duet: "Lakmé! Lakmé! C'est toi!"
- No. 14 – Finale: "O Dourga, toi qui renais"
Act 3
- Entr'acte
- No. 15 – Berceuse: "Sous le ciel tout étoilé"
- No. 15b – Recitative: "Quel vague souvenir alourdit ma pensée?"
- No. 16 – Cantilène: "Lakmé! Lakmé! Ah! Viens dans la forêt profonde"
- No. 17 – Scène & Choeur: "Là, je pourrai t'entendre
- No. 18 – Scène: "Vivant!"
- No. 19 – Duet: "Ils allaient deux à deux"
- No. 20 – Finale: "C'est lui! C'est lui!"
Recordings
- 1940: Lily Pons, Armand Tokatyan, Ezio Pinza, Ira Petina, New York Metropolitan Opera Chorus and Orchestra, Wilfrid Pelletier
- 1952: Mado Robin, Libero de Luca, Jacques Jansen, Jean Borthayre, Agnés Disney, Chœurs et Orchestre du Théâtre National de l'Opéra-Comique, Georges Sébastian
- 1967: Joan Sutherland, Alain Vanzo, Gabriel Bacquier, Jane Berbié, Chœurs et Orchestre National de l'Opéra de Monte Carlo, Richard Bonynge
- 1970: Mady Mesplé, Charles Burles, Roger Soyer, Danielle Millet, Chœurs et Orchestre du Théâtre National de l'Opéra-Comique, Alain Lombard
- 1998: Natalie Dessay, Gregory Kunde, José van Dam, Delphine Haidan, Chœur et Orchestre du Capitole de Toulouse, Michel Plasson
- 2012: Emma Matthews, Aldo di Toro, Stephen Bennett, Opera Australia Chorus and Australian Opera and Ballet Orchestra, Emmanuel Joel-Hornak , OPOZ56020DVD
In film
- In 1935 film I Dream Too Much, Lily Pons sings the excerpt from the Bell Song.
- In the 1983 film The Hunger, the character portrayed by Catherine Deneuve plays the Flower Duet on the piano, then the music shifts into an actual opera recording.
- In 2016 biographical film Florence Foster Jenkins, Lily Pons sings the Bell Song.