Document

  1989
    December 1989
        Opera and music theatre
                Delibes Lakme.

Delibes LAKME Dame Joan Sutherland (sop) Lakme; Alain Vanzo (ten) Gerald; Gabriel Bacquier (bar) Nilakantha; Jane Berbie (sop) Mallika; Claud Cales (bar) Frederick; Gwenyth Annear (sop) Ellen; Josephte Clement (sop) Rose; Monica Sinclair (contr) Miss Benson; Emile Belcourt (ten) Hadji; Monte-Carlo Opera Chorus; Monte-Carlo National Opera Orchestra / Richard Bonynge.

Decca Grand Opera (Mid price) (CD) 425 485-2DM2 (two discs, nas: 138 minutes: ADD). Synopsis, text and translation included. From SET387/9 (5/69).

Selected comparison:

Lombard (7/88) CDS7 49430-2

This recording of Delibes's Indian opera—just one example of French authors' and musicians' fascination, in the late nineteenth century, with all things Oriental—has firmly held its place in the catalogue for 20 years, unchallenged until the recent appearance of the version conducted by Alain Lombard with Mady Mesple in the title role and an acceptable supporting cast (EMI)—which in fact had been made only a year later than the present set. Despite the many good qualities of the EMI, this one still wins on points. For one thing, it has the inestimable advantage of Alain Vanzo, the French lyric tenor par excellence, in the role of Gerald, another of those servicemen (though not a cad like Pinkerton) who fall victim to the exotic glamour of the East. Gabriel Bacquier is his usual dependable self as Lakme's father, and Monica Sinclair contributes a capital study of the prim-and-proper governess which (unlike that of her rival in the other recording) cleverly avoids becoming too ridiculous; the other minor characters are very well taken, the orchestral playing is stylish, and the production is intelligent and lively.

It is only on considering the title role that some difficult weighing-up becomes necessary. Mady Mesple's very French, light girlish tone admirably suggests the virginal character and innocence of the heroine: her intonation is impeccable, her coloratura seemingly effortless, and the clarity of her enunciation could stand as a model for all singers. In contrast, it is next to impossible to guess what Sutherland is singing about, and even with the libretto in front of one it is often hard to recognize the text as she sings it: consonants are sacrificed to the production of a striking beauty of tone, limpid and even throughout the compass (though, if one is to be purist about it, more Italian than French in character). A consideration in choosing between the two versions must be the recording quality, here still fresh and cleans the EMI having to contend with the over-resonant acoustics of the Salle Wagram in Paris, which among things leaves the chorus in mid-distance. And one final point which may well clinch matters: this is a medium price issue.

LS



		This recording of Delibes's Indian opera—just one example of French authors' and musicians' fascination, in the late nineteenth century, with all things Oriental—has firmly held its place in the catalogue for 20 years, unchallenged until the recent appearance of the version conducted by Alain Lombard with Mady Mesple in the title role and an acceptable supporting cast (EMI)—which in fact had been made only a year later than the present set. Despite the many good qualities of the EMI, this one still wins on points. For one thing, it has the inestimable advantage of Alain Vanzo, the French lyric tenor par excellence, in the role of Gerald, another of those servicemen (though not a cad like Pinkerton) who fall victim to the exotic glamour of the East. Gabriel Bacquier is his usual dependable self as Lakme's father, and Monica Sinclair contributes a capital study of the prim-and-proper governess which (unlike that of her rival in the other recording) cleverly avoids becoming too ridiculous; the other minor characters are very well taken, the orchestral playing is stylish, and the production is intelligent and lively.



		It is only on considering the title role that some difficult weighing-up becomes necessary. Mady Mesple's very French, light girlish tone admirably suggests the virginal character and innocence of the heroine: her intonation is impeccable, her coloratura seemingly effortless, and the clarity of her enunciation could stand as a model for all singers. In contrast, it is next to impossible to guess what Sutherland is singing about, and even with the libretto in front of one it is often hard to recognize the text as she sings it: consonants are sacrificed to the production of a striking beauty of tone, limpid and even throughout the compass (though, if one is to be purist about it, more Italian than French in character). A consideration in choosing between the two versions must be the recording quality, here still fresh and cleans the EMI having to contend with the over-resonant acoustics of the Salle Wagram in Paris, which among things leaves the chorus in mid-distance. And one final point which may well clinch matters: this is a medium price issue.