Customer Reviews

Delibes: Lakmé

5 star:		(19)
4 star:		(4)
3 star:		(0)
2 star:		(2)
1 star:		(0)

 

 

With her ability to color every phrase delicately, Natalie Dessay is undoubtedly this century's greatest coloratura soprano. Highly underrated, she could easily bring truth to her interpretation of this Lakme through her very good reading of the score and her ability to enunciate her French very well. Gregory Kunde is one of the greatest rising French tenors. Michel Plasson showcases Delibes' mystical and erotic music through a very passionate, delicate, and at the same time flowing reading of the music. A must for any fan of this great opera. I would recommend it highly over the Mady Mesple and definitely over the Sutherland version. Own it today, you won't be disappointed.

Finally some of these French opera treausures are coming to life once again! It seems that for so long, the gentle beauty and simplicity of French opera had taken the back seat to the more well known Italian works of Verdi or the high profile works of Mozart. Only the Italian masters Giacomo Puccini and Pietro Mascagni seemed to incorporate some of the French finesse into their dramatic and powerful music. This newest recording of Leo Delibes "Lakme" is to be commended for once more bringing the sensual and beautiful music to the forefront in the enchanting love story set in British occupied Colonial India. The Indian priestess, Lakme, sung by Natalie Dessay delivers the gentility and innocence in her vocal interpretation of the fragile character. Dessay delivers with ease the stirring moments in the "Air des clochettes" of Act II and manages the higher register with the greatest of ease. Likewise, Michel Plasson conducts the score as I am certain Delibes would have intended. Gregory Kunde portrays the British officer in love with Lakme with intelligence and masculinity, and both he and Dessay shine in the Act III forest scene, hidden in a bamboo cabin surrounded by lush foliage, where the lovers sing beautifully "Ah! viens, dans la foret profunde" and "Sous le ciel tout etoile". The Choeur and Orchestre du Capitole de Toulouse manages the intensely delicate, yet powerful score and transports us to a fairy-tale place in India. The French do many things well, art and music being among them, and it should be noted that this excellent recording follows an older French recording of "Lakme" done by Mady Mesple, conducted by Alain Lombard and the Choeurs et Orchestre du Theatre National de l'Opera-Comique in 1971. Both the older recorded version and this new Plasson version once again prove that the French have a refinery and finesse hard to duplicate. I recommend this new recording of "Lakme" for the novice to opera or the well-seasoned aficianado! Let's bring the French works prominently back into worldwide opera houses!

Here we have a recording of effortless beauty. Lakmé is an opera of many nuances, in the plot itself as well as in the music. The sentiments though are never very strong and since the story isn't strong either, the opera relies very much on it's sweet music. This means that if this delicate score is put in the wrong hands it can turn out banal, pathetic and boring. Fortunately, the hands of Micheal Plasson turns out to be perfect for this opera. He's cautious but very thoughtfull, leaving no details unnoticed. And with 'his' Toulouse opera-company behind him, the orchestral playing reaches nothing but first class - sounding both like flowers and bells, when so called for. The detailed recorded sound also brings forth especially the strings in a lovely way.

The singers? Well, they're all in class with their conductor. Dessay sings Lakmé with a very pure voice, really making you believe that she is as innocent as here role demands. When the sensualism begins, she also uses some sliding between the notes, which makes her contribution very 'french' indeed. Kunde couldn't have done his Gerald better. He uses a seamless legato in much of the romatic music, which together with his habit to 'hang' on his notes rhytmically, makes his singing in these parts exceptionally beautiful, effortlessly milking out the most of every single note. His "Fantasie aux divine mensonges" is priceless. Van Dam as Lakmé's father Nilakantha is as always in impressive voice, his sometimes abrupt way of handling tones being perfect in this role. Haidan's Mallika is just as much darker in voice and more serious in action than Dessay's Lakmé, which is just way it's supposed to be. And her voice itself is very beautiful. The rest of the cast is very good as well, their voices well separated from one another both by nature and in the recording, which makes the action easy to follow and each caracter gets heard.

The Sutherland/Vanzo version for London/Decca may not be generally as good as this one, but it none the less has Vanzo in the role of Gerald, and he is always a pleasure to hear. But this Dessay/Kunde, I think, is the over all better recording, actually The Best Lakmé-recording of all, nothing short of world class.

This delightful work by Léo Delibes deserves to be on the standard operatic repertoire. To hear this music is like to be transported to a beautiful garden full of colorful flowers with enchanting fragrances. There is a delicacy, a charm in the arias and duets that is typically French, even with the composer's intention of giving some Oriental atmosphere. Michel Plasson has much to do with the success of this recording. His conducting is always observant of the delicacy of the score and requires of the orchestra and soloists a great observance of dynamics. Of course, a great conductor will not achieve anything in Lakmé without an outstanding coloratura soprano in the very difficult title role. Natalie Dessay has the perfect voice for Lakmé and also brings consummate artistry, making the Hindu maiden a flesh and blood character. Dessay portrays the delicacy and innocence of Lakmé using different colors in her voice, apart from mastering exquisite pianissimos. And her Bell Song is a dream, with a vivid interest in the words of the legend and echo effects on the bell refrains. Her high notes are totally effortless. In summary, an extraordinary performance in every respect. The rest of the cast complement Dessay nicely. Gregory Kunde has a sweet lyric tenor and matches Dessay beautifully in their duets, only there is some difficulty with the very high tessitura of Gerald. José Van Daam brings his usual vocal and theatrical flair to the role of Nilakantha. The rest of the cast is adequate. The Choeur and Orchestre du Capitole de Toulouse are superb. There is no better recording of this opera than this one, even though it is also fascinating to hear Mado Robin and Mady Mesplé on their recordings. Dessay continues the heritage of these singers and Plasson gives the work an effective reading that gives justice to this neglected jewel.

Lakme was a new opera for me, until purchasing this recording, having only heard the popular Flower duet and Bell song. It is far more rewarding to listen to the complete opera, particularly when the cast is as good as this one. The opera is full with wonderful tunes and to hear the Bell song in its dramatic context does it full justice.

Natalie Dessay is a perfect Lakme. This is a dazzling coloratura performance and will be the recording that all future Lakme's are compared with. If her low notes are "squawky" it was not apparent to me. Ms. Dessay is well supported by Gregory Kunde, Jose Van Dam and Delphine Haidan. The Orchestre du Capitole Toulouse, conducted by Michel Plasson, provides perfect support for the singers.

This is a "must have" recording for opera lovers, and I would recommend that people new to opera buy this set. Lakme is a good place to start for someone curious about opera.

This is an opera full of beautiful moments and with one small exception, I could not ask for better soloists. Plasson's conducting carefully nurtures stunning sounds from the Orchestre du Capitole de Toulouse and the Choir is equally attentive. The "Bell Song," for example, is done at a more graceful pace (a little slower) than normally performed and the result is exquisite.

Natalie Dessay's sweet, crystalline voice lovingly captures Lakme's delicate character. She produces each note with such finesse and emotion that you are almost completely taken. The other singer to capture your appreciation is Gregory Kunde. There are tenors that I hold in great and high esteem, Placido Domingo is foremost for me. Giuseppe Di Stefano and Sergei Larin are examples of other tenors who I find just amazing but NEVER have I encountered a voice as stunning in a role as Kunde's. His Gerald is never strained, always smooth, and passionately urgent without being the slightest bit overdone. The most immediately likeable tenor voice I have ever heard on disc.

Jose Van Dam is a singer I came to appreciate most for his Amfortas in Wagner's "Parsifal". Here, devoid of Wagner's tortured arrogance, his voice is even warmer and more expressive. Bernadette Antoine (the small exception) is an overly "fruity" Mistress Bentson and this is the recording's only minor flaw, in my view (her chest register is rather poor and the sound isn't pretty). The other roles are all excellently sung, particularly Delphine Haidan's Malika, whose Flower duet with Lakme is the definition of 'sublime'.

The sound is clear digital. I can't recommend this opera enough. It's a very human story from the plot to the music (whatever the French word for 'verissimo' is). Speaking of 'French' the diction is totally convincing to my ears. I can find no faults.

This recording is breathtaking to the extreme. It is so lovely, and filled with such refinement, subtlties, and those special touches that move the soul. Personally, I agree with one reviewer that it is about time we heard more French opera, and we should demand it be performed as French opera style demands. French opera is always filled with refinement, even at its most dramatic (sadly, Carmen has become so "Verismo-ized" we forget that it is really French opera comique!). The legato is delicate and beautiful, but not based on the portamento like Italian opera is. The singers in this recording understand French style, and how to breathe life into it. In many cases, less is by far more. By not "Italianizing" and singing over dramatically, they actually make the drama greater and more touching.

The bell song is all the rage for most people, and that is all they think this opera has to it. That is a very wrong idea. The gentle melting vocal writing that is far less "showy" is just as poignant. That is where most coloratura sopranos make their mistake. They worry about the bell song, make something of it, and the rest is sort of just hashed through. Even Sutherland, exceptionally as she sings, falls a bit flat on the non-showy parts. French opera also requires EXCELLENT DICTION, and we are treated here to some spine tingling diction in a very lovely romantic language.

The conducting is ever so moving. This opera is so intoxicating in its magic, and this conductor takes it to new heights. He, too, is French, so that may say something.

I recommend this to anyone for these reasons. Also, Lakme is NOT a heavy opera, so people coming to opera for the first time won't be overwhelmed by it. They will be able to follow it without strain. This recording is nearly an equal match for me to my favorite version -- the Mady Mesple version.

My wife and I went to see Lakme, our first opera, at the Lyric opera house in Balltimore. I feel like my life has changed. After being overwhelmed by the performance by Youngok Shin as Lakme, I borrowed this CD set from my sister, to hear that magic once again. Natalie Dessay, starring as Lakme, with Gregory Kunde as Gerald, both execute every bit of this gem with precision. I did not think that Joan Sutherland's performance, in a Kultur video we purchased, was even half as enjoyable as Natalie Dessay's, especially in the famous "bell song". Additionally, Gregory Kunde sang quite clearly, matching perfectly with Natalie throughout. We were able to listen to this and follow all of it with the included book, in French and English. The book allowed us to listen and interpret the music and poetry, return to enjoy another performance, and better appreciate the efforts of the cast without being distracted by the surtitles. I cannot stop listening to this beautiful music. If you like the flower duet or the bell song then you absolutely must hear the whole opera. It must be enjoyed in its entirety, as intended. I have had the set so long now that I had to buy a new one for my sister. I noticed there were a lot of hits in a search for Lakme. It is too bad this CD set doesn't show up higher in the search results because it is performed so well. The book alone is worth the price. I cannot imagine anyone not falling in love with the music. If you want to enjoy all of it, this is the CD set to buy. He who enjoys the gifts of sight and sound absolutely must experience at least one opera. If you have a chance to see Lakme, buy this set and listen before you go.

I first heard Lakme with Mady Mesple and subsequently Joan Sutherland. The music by Delibes is simply exquisite - breathtaking, fresh, delicate, intoxicating. I agree with the other reviewers that although The Bell Song is a highlight in Lakme, the rest of the opera features beautiful music ALL the way through. However, the attraction of this set is Dessay and Kunde. Their diction and finesse is so present in this opera that it puts Dame Joan's recording to shame. Mesple had a little bleat in her voice at that time but her diction was also superb although her voice tended to be a bit tinny. Sutherland's hashed diction leaves much to be desired and I feel that the role is not suitable for her. The crispness of the voice simply isn't there. But Dessay has a voice of pure brilliance and Kunde compliments her with a silvery tenor. Simply beautiful!

Realised by (mostly) French artists, this CD can boast of having the most adequate singers for the the roles. Michel Plasson conducts his orchestra with precision, being discreet when needed for this opera à voix. Natalie Dessay is Lakmé evidently, her colorature voice covering the necessary high-pitched notes with ease, which enables her to concentrate on the drama. The Flower duet's beauty is covered with an ominous atmosphere (Lakmé will commit suicide through a flower after all). As for men, Van Dam's diction, and its dramatic force, is well-known. He can also be so sensitive: "Lakmé, tes yeux se voilent" gives a full display of his love. Kunde is technically adequate, having no problem with his character. A slight reproach though, we don't get the impression he is in love with Lakmé (which he is supposed to be at first) as if he would run away at the first opportunity.