Lakme

I'm inclined to be generous having waited so long for a production of Lakme in full screen with high-resolution picture and sound. For the most part, I'm not disappointed. Emma Mattthews is petite and attractive, with a glorious, note-perfect coloratura. The sets are quite nice combined with thoughtful touches of stage craft. Much attention to authenticity in the costumes adds a sense of beauty and realism.However, the ballet sequences, so appealing in the earlier Sutherland version, have been totally excised. Also, the acting, casting on the part of the male lead, Gerald (Aldo di Toro) is dismal. He has a lovely voice, but he acts as though he happened to pass by and was asked to come on stage to sing with no thought, preparation whatsoever. He might be forgiven in the sense that the story of Lakme and Gerald falling in love with no prelude, no development is itself pretty thin. But all the more need for thoughtful direction in making the most of this scene, which doesn't happen.Frederic (Luke Gabeddy)was not much better, but his role was not as critical. In contrast, all the woman look and act quite well.So, highly recommended for all that is beautiful and right about this production, but be prepared for that which is missing.

That Leo Delibes was an important and successful composer of ballet is well established. His 1870s ballets Sylvia and Coppelia are among the masterpieces of ballet music noted for charm, wit and brilliance of orchestration. They compare favorable with the master of that era, Tchaikovsky. Delibes place as an opera composer is less secure. He began as a church organist before he entered the world of the theater. In time he became chorus master at the Opera Paris, then wrote ballets and a series of successful operettas in the Jaques Offenbach style. There followed a few operas of which only one lasted but it was worldly very popular for about 50 years. Yet even in this long lasting opus the prelude, duets and even the discriptive oriental background music sounds like bits anf pieces of operetta. His melodies and orchestrations are its high points. The alternating slow melodic lines with fast paced more dramatic material keeps interest and attention going. And the solid choral work in this opera shows off the chorus master background.The libretto by Gondinet and Gille is typical of French romanticism of the time. Philippe Gille had also contributtred to another popular French libretto of the 1880s for Massenet's Manon. In Lakme the story is taken fron a novel by Pierre Loti called "The Mariage of Loti". Interestingly that story was set in the South Pacific but the libretto team aware of the current vogue in France for "Orientalia" set it in present day (British) India. It allowed them a French pleasure of depicting the British as amusing button-down foolish Victorians and the soldiers are right out of comic operetta. The story line in Lakme is thin at best and is only saved by the quality of Delibes music.The present production is about as authentic and fulfilling you could have today. The staging is vibrant, full of color, mood and people and a full realization of the score. The Lakme of Emma Mathews is magnificent. She even looks authentic Indian. Her voice is not the Lakme of Lily Pons but is on par with the only Joan Sutherland I've heard. Ms Pons I saw when young and her Bell Song still rings in my mind in spite of the dust, cobwebs and moths of the very old Met sets. Stephen Bennett brings gravity to the role of Nilakantha, the high priest and Lakme's father. In the hands of a greater composer and librettist this could have become a great tragic figure. But he does a very good job with what he has. Gerald should be handsome, yound and of soldier-like figure. Aldo di Toro could sing it but his pot-belly and short stature were detrimental. The rest of the cast were excellent in their roles; especially the Malika of Dominica Mathews and the Mistress Bentson of Roxanne Hislop. An excellent and enjoyable gem of late French romanticism in music; highly recommended. A final note: two heroines of that period died botanical deaths. Lakme in Lakme and Selika in Meyerbeer's L'Africain; despite it's title is about India Indians. Lakme's plant appears to be a type of Datura or Brugsmania it is toxic but not instantly. Selika's flowers have a deadly aroma and are called Mancanilla but their true identity remains unknown.

This is an easy review! WOW says it all in a nut shell. Opera Australia is on a roll: LAKME, TRAVIATA, RIGOLETTO and DON GIOVANNI. All creative, beautiful, colorful and vocally and musically excellent and most of the times more. Not always flawless; but always fascinating and engaging. Many times I'm almost fooled into believing "this is the first time I've experienced this piece" or WOW is that new!1) Emma Matthews-Lakme. She is the real thing a lyric coloratura soprano who has it all: Stunning high E in the Bell Song, Runs, Staccatti, Beautiful Tone, Breath. Legato, Phrasing etc... Did I mention she can act and looks good too!2) Aldo Di Toro-Gerald has a lovely tenore di grazia; It's a shame he can't act. BUT, he can sing!3) Great music direction by Emmanuel Joel-Hornak; and wonderful playing by the Australian Opera and Ballet Orchestra.4) Fine directing by Roger Hodgman. He treats it as a lovely lyric piece of oriental fluff and doesn't try to make it something it isn't.5) Having now reviewed TRAVIATA, RIGOLETTO, DON GIOVANNI and the present LAKME I find some common threads of themes running throughout all of them: COLOR is used creatively and boldly in both Sets and Costumes. Audio is excellent. Camera work is top tier. The Video director doesn't seem to feel the need to change the angle every four or five seconds as in most of the current MET HD Broadcasts. Close ups are not extreme and hyper in the artists face. The long broad shot is not feared or rejected as being thought to be boring! All is done artistically and with great care and taste.6)Stephen Bennett as Nilakantha does not have easy high notes; but, he is dramatically involved.7) I was not impressed with Luke Gabbedy as Frederic. His voice lacks focus and he doesn't act but is always staring at the Conductor.8) The English trio of ladies: Jane Parkin, Angela Brun and Roxane Hislop couldn't be better.9) Dominica Matthews is also an asset as Malika; especially in the beautiful flower duet.10) A drop dead georgeous score, orchestration and soaring melodies by an often time ignored French composer - Leo Delibes.11) This excellent production is a true feast for eye and ear presented by a company who is making its artistic presence felt. I wish them well because no matter how creative or innovative the production they steer clear of Reggie or Trash and manage to stay true to the Libretto, the Music and The Composer.12) Emma Matthews a local talent trained and developed by Opera Australia HAS ARRIVED as Blu-Ray, DVD and a new recital album on DGG prove beyond a shadow of a doubt. I look forward to seeing how her career progresses and develops. I also look forward to more Colorful and Creative releases from OPERA AUSTRALIA. BRAVI TUTTI!!!13) Just a suggestion. Maybe a creative and well directed LUCIA OR PURITANI next?

Non Lakmé n'est pas une opérette, et Emma Matthews, elle, le démontre bien...Le reste de la distribution, notamment chez les hommes, est assez décevante...Pas un instant Aldo Di Toro n'est crédible en jeune officier de l'armée Anglaise, et Luke Gabbedy parait bien emprunté dans son uniforme, comme dans le role de Frederic...Malheureusement en ce qui concerne leur voix et leur interprétation, là aussi la déception est grande, le role de Gérald exige aussi dans tel ou tel passage, une certaine vaillance...Par contre les décors (un peu kitsch, mais pourquoi pas), les costumes, les choeurs et la direction musicale sont remarquables...Mais ne me font pas pour autant oublier la Salle Favart, quand Lakmé était Christiane Eda-Pierre et Gérald, Georges Liccioni, Alain Vanzo ou Roger Gardes.

The Lakme presentation of the Sydney Opera House brought not the drama I had expected from such a sorrowful tale. Instead I felt watching an operetta gone to seeds. Lakme should be the young daughter of Nilakantha. As even her stage father -- the leading priest of a forbidden sect -- probably would admit, youth had just the ring of an anecdote for his stage daughter. She, the full-blooded woman -- Emma Matthews -- might come close to Sutherland [on an older Lakme DVD] in singing, but definitely surpasses her in acting. Nilakantha sings well and his little acting is agreeable.Lakme's lover Gerald [Aldo Di Toro] isn't convincing and though he probably gives his all, he doesn't give a memorable performance. The less I say about the singer of Frederic the better. Ellen and Rose are wilted flowers; the governess is cast well for her role, she sings and acts as if being in a Sullivan operetta.If the opera exists only for the famous flower duet and the bell song -- obviously other features are difficult to bring onto the stage -- then listen to the opera on CD and dream of the distant lands, think of the social problems of different races and how these people live together, be amazed about the religious mania, and feel for the lovers in their doomed affair.In summary, the "new" Lakme tries to reach dramatic effect without finding it, offers sometimes good, sometimes average singing, but displays colourful costumes -- perhaps to camouflage the aforementioned shortcomings. I hope another "new" Lakme is in the wings somewhere.

An opera lover would be missing something really wonderful if he missed out on this long long long awaited production, especially in the blu ray format. BUY IT and forget the little flaws I have pointed out in this review.The other video recording I have of this is the celebrated and venerated old one that has Joan Sutherland. Comparisons between the two would not be fair, as both are separated by decades that have seen changing styles, values and other attributes that have gone on to staging an opera as beautiful as this. That having said, Joan Sutherland would never have been able to pull off acting and stage presence at least in this opera, as Emma Mathews has in this one. Emma is truly the star of this production, and her handling of both singing and acting really touched me to the core.I can definitely deem Stephen Bennet (Nilakanta) as the 'other' star in this production. Dominica Mathews as Mallika impressed. I cant say I was too impressed with Aldo Di Torro. His acting is just a notch above lousy and his singing, although sweet and flawless;this production could have done with a more powerful tenor. Torro I think is an excellent tenor of the second tier. The rest are quite OK, but nothing to rave about. Hadji looks and acts like a kid younger than Lakme.... a little thought to the makeup could have made him more acceptable.The video and sound are as good as they can be and made this production absolutely enjoyable. Kudos to the Post production team.The lavishness of the sets and the stage direction were just superb. This production had everything... ALMOST everything to deserve a well earned 5 stars rating...Why 'Almost' perfect rather than absolutely perfect? A few flaws I would point out that did disappoint me.1.WHY NO BALLET?Delibes was primarily a composer who strode the ballet theater as a titan of his times. The ballet music he wrote for this Opera is one of the finest even by his lofty standards. Can you imagine an opera of Tchaikovsky with ballet music in it, being performed without it? To maintain the 'intensity' of the drama, some directors dropped the ballet altogether from Gounod's Faust, and they have not done too well either. Especially when Opera Australia has one of the finest in-house ballet theaters in the world, to omit that from a production of this scale is unpardonable. Inclusion would only have heightened the intensity and enjoyment and not distracted one bit.This is the ONLY reason for my deducting one star from the maximum. The point No.2 is just personal, and for a worldwide audience, does not really matter, but all the same, I have to point it out.2. I am an Indian, and for an Indian, Lakme as an opera is just as important as Turandot is to a Chinese and Madama Butterfly to a Japanese. Oodles of productions of the other two have given a very thorough eye to detail that only people of those countries could appreciate, although it is irrelevant to a worldwide audience. (Why does Rolls Royce have 18 coats of Paint? Well.. that is what makes the Rolls a Rolls)Just look at the beautifully done curtain for this production. The costumes in those curtains are actually the true representation of the ordinary Indian folk of the 19th century. The costumes used here throughout, be they peasants, merchants or the rich folk are all of the same opulent styles that only the rich used to wear, that too at private functions, and not at the market place and definitely not at Temple festivals. Bollywood influence of the worst type.Just as an analogy, would you tolerate a production of either a play or an opera, for example 'My fair lady' wherein the whole population downtown, flower sellers, hawkers etc wear clothes as if they were at the Ascot races? Variety and mixture of the costumes would have done wonders for the reputation of the costume designer. Same goes with men too, all looking as though they just came out of the court of Akbar the Great. Look at most other opulent productions of Operas. Peasants look like peasants and Royalty as Royalty. The mix does more than just being apt.Nilakanta, the police and the British officers are the only ones who have an appropriate costume. A daughter of a beggar who is a singer (Lakme in Act II) would never have donned such a bejeweled sophisticated costume to wear, especially as a street singer.3.Some basic research on a Hindu altar, even visiting a local temple would have made it amply clear, that no where in India, especially in the house of a Brahman would one light candles (except for light during a power failure)... only oil lamps are lit. Especially in the 19th century, (even today to an extent), it was blasphemous to light candles at a Hindu altar, as candles came with the Christian Church and symbolized the difference of faiths and traditions .. Very basic but true. Act III of the production falters on this one.These little flaws do not take anything away from the production.... but I think someone had to point it out.

Previously to obtaining this version I had the Joan Sutherland with Richard Bonynge, it is restrictive in that it only plays on region 1 compatible players, I have one in my armoury. I spotted this whilst looking for Delibes ballets for my better half, I had to have it. It has proved to be an excellent choice.The picture quality is excellent, the sound crystal clear. The sets are very well done colourful and represent my idea of the time and place. The same goes for the costumes, both Eastern and Western.Emma Matthews as Lakme both looks and sings the part. She has some delightful sounds, particularly in the quiet high register passages.Domenica Matthews as Malika is a first class support, and the two ladies voices blend beautifully in duet.The same excellent standards are set by Stephen Bennet, Edmond Choo, and Luke Gabbedy, and the three English ladies.I have saved Aldo Di Toro to last for while he sings the part absolutely to my liking, he does not match my idea of the dashing English Officer. He looks more like a soon to retire Major who Lakme might like if she wanted a retired Country Gentleman! So much for my nitpicking.There are a couple of extras on disc, the picture gallery uninspired and tells one nothing. The 6 minute background from Roger Hodman very interesting.The booklet is glossy. with some good pictures, a comprehensive synopsis, and itemised arias, etc.I found this better allround than the Sutherland.Despite my comments on Di Toro, I still award this five stars.

Lakme is not in the same league as the powerful works of Wagner or Verdi. However it is a beautiful and highly melodic piece of 19th Century faux orientalism which is thoroughly enjoyable and looks stunning in this blu-ray production. Thankfully there is no attempt to find a modernist production. The sets and costumes are traditional and highly lavish. In fact, the whole thing looks wonderful. The performers are all good, with Emma Matthews as Lakme giving a fine performance. The Flower Duet and Bell Song are beautiful and virtuosic respectively and come off perfectly.I would recommend this to everyone who enjoys opera. Prepare to be bowled over by a largely forgotten exploration of the effects of colonialism.