Opera review: Delibes’ Lakme by Opera Holland

4 / 5 stars
Delibes’ Lakme by Opera Holland

AN ORIENTAL fantasy set during the days of the British Raj in India, Lakme is best known for the Flower Duet that became a theme tune for British Airways advertisements.

opera, review, Clare Colvin PH

Leo Delibes’s 1883 opera is rarely seen in England

Leo Delibes’s 1883 opera was a hit in France, but is rarely seen in England, although Opera Holland Park must have a soft spot for Lakme, having first staged it in 2007. The new production is directed by Aylin Bozok.

Musically, the opera works beautifully. The City of London Sinfonia under conductor Matthew Waldren captures the lushness of the score. The French libretto by Edmond Gondinet and Philippe Gille is imbued with romantic nostalgia for the exotic east. It is a love story of what happens when East meets West. 

Lakme, daughter of a Brahmin priest, breaks the rules of her religion by falling for a British Army officer, Gerald. She meets him in secret, defying her father’s opposition to the colonialists. Naturally, the tale ends in tragedy, when Lakme, realising Gerald is going to answer the call of duty and return to his regiment, eats the poisonous leaf of the datura plant, rather than live without him in dishonour.

The Flower Duet, performed by Fflur Wyn as Lakme and mezzo Katie Bray as her maid Mallika, is delightful. The high point of the evening, however, is undoubtedly the Bell Song. This is one of the most demanding coloratura arias in the operatic repertoire. The vocal pyrotechnics hit the highest notes of the soprano range. It comes in Act 2 when Lakme is forced by her vengeful father Nilakantha to sing the Bell Song so that her lover will give himself away.

Fflur Wyn gives a bravura performance as the cascade of notes and trills rise to a high E, reminding us that the Bell Song or “air des clochettes” was a favourite party piece of the renowned Australian soprano Dame Joan Sutherland. It looks as if Wyn is on the path for the great “bel canto” roles of opera. 

There is excellent singing, too, from tenor Robert Murray as Gerald, and from baritone Nicholas Lester as Frederic, his fellow officer. Bass David Soar is a dominating Nilakantha; Fiona Kimm makes a mark as Mrs Bentson, harassed governess to flighty Ellen and Rose (Maud Millar and Fleur de Bray).

Director Aylin Bozok and designer Morgan Large have avoided the libretto’s exotic images of jasmine bowers, lotus blossom and swans’ wings in the sparse staging. There is no lotus garden to the temple, unless you count the petal-shaped metal lattice of Lakme’s shrine. 

Costumes for the chorus are drab, considering the gorgeous colours of south Indian and Sri Lankan silks that are available. Lakme wears an unflattering gown that could do duty at a masonic ladies’ night.

Dancer Lucy Starkey, as Lakme’s spirit companion, is in a floaty contemporary dance frock. It looks as if the design team is anxious to play down the ethnic look. The only “ethnic” costumes, really, are those of the English memsahibs, immaculately clothed in cream-coloured Victorian-style costumes, hats and gloves.

Delibes’ Lakme by Opera Holland Park London W8 (Tickets: 0300 999 1000/operahollandpark.com; £17-£75)

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