Composer: Léo Delibes
Works: Lakmé (Opera in 3 Acts)
Performers: Mady Mesplé (Soprano), Charles Burles (Tenor), Roger Soyer (Bass-Baritone), Chorus and Orchestra of the Théâtre National de l’Opéra Comique
Recording: Salle Wagram, Paris 1971
Label: EMI CLASSICS 567742 – 2CDs [149.44]
Léo Delibes, a composer whose legacy is often eclipsed by his contemporaries, occupies a singular niche in the operatic repertoire, particularly through his enchanting opera, Lakmé. Premiered in 1883 against the backdrop of an increasing fascination with the “mysterious” East, Lakmé tells a poignant tale of forbidden love between Gerald, an English officer, and the Indian flower girl Lakmé. This production, recorded in 1971 under the baton of Alain Lombard, captures the essence of Delibes’s melodic inventiveness, which, while reminiscent of Bizet’s Les Pêcheurs de Perles, introduces a distinctively delicate and nuanced approach to the operatic form.
Mady Mesplé’s portrayal of Lakmé is marked by a light lyric coloratura that, while lacking the dramatic heft found in some of her illustrious predecessors, conveys a certain ethereal quality appropriate to the character. Her trills are executed with precision, and her diction is commendably clear, although one may lament the limited variety in tonal color that could enhance her interpretation of Lakmé’s emotional spectrum. In notable passages such as the renowned “Bell Song,” the constraints of her vocal heft become evident, particularly when considering the formidable interpretations by artists like Joan Sutherland, whose own coloratura brilliance redefined expectations for the role. The contrast between Mesplé’s lighter voice and Sutherland’s more robust sound serves to highlight the different interpretive choices available to the soprano.
Charles Burles as Gerald displays a pleasing, if slightly nasal, timbre and exhibits commendable phrasing within the French operatic tradition. His performance, particularly in the duet “Sous le dôme épais,” where the interplay between Lakmé and Gerald reaches a lyrical zenith, offers a charming counterpart to Mesplé’s interpretation. Yet, when juxtaposed with Alain Vanzo’s more polished delivery in earlier recordings, Burles’s interpretation may feel somewhat restrained. Roger Soyer as Nilakantha brings dramatic weight to the role, his bass-baritone being both powerful and expressive. His cavatina and aria showcase not only his vocal prowess but also the effective use of dynamic contrast, enhancing the dramatic tension that underpins the story.
Lombard’s conducting strikes a balance between orchestral clarity and dramatic intensity. The orchestration, rich in color and texture, is executed with finesse by the orchestra of the Opéra Comique, allowing the lush harmonies and intricate woodwind passages to shine. The recording quality is warm and well-balanced, facilitating all layers of the orchestral fabric to emerge distinctly, an aspect that significantly contributes to the overall listening experience. The chorus, robust and engaging, fills the sonic landscape, adding to the dramatic context of the opera, particularly in the opening scenes where the communal dimension of the narrative is established.
While this recording may not ascend to the heights of the “Great Recordings of the Century,” it presents a thoroughly enjoyable interpretation of Delibes’s work. The absence of a full libretto might deter some listeners, but the musical dialogue remains compelling enough to draw in those unfamiliar with the opera. Comparatively, the established recordings by Sutherland or Dessay might showcase more dramatic flair and technical mastery, yet this performance with Mesplé offers its own charms, rooting itself in the lyrical and delicate nature of Delibes’s score. The artistry presented here, while perhaps not definitive, still resonates with the enchanting spirit of Lakmé, inviting listeners into its beautifully crafted world.
