I went to see this last week at Opera Holland Park, quite possibly the most pleasant opera house in London, especially now it has a new auditorium and canopy and so on.
I knew almost nothing about Lakmé before I arrived, I even had to look up who wrote it: Leo Delibes. I did know one very pertinent thing about it and I think I disgraced myself by mentioning to my companion "British Airways". He was unfazed - we had already discussed how we would be half expecting 'The Pearlfishers' Duet'. But a couple of older blokes turned round and gave me that glare of "Get thee gone you ClassicFM lite person." I can't really blame them; I've used the same glare myself on occasion.
I soon learned that it is set in India in Monsoon season. Correction, it is set in Indian, and plays in London in Monsoon season. Fortunately, I managed to miss the worst of the rain, and would have missed it entirely if I had not insisted on stepping outside for a cigarette and a visit to the Ladies. I observed a woman arriving in a fairly posh frock and barefoot...carrying her sandals. I was rather pleased at being rather sensibly dressed for the office. But the canopy held the downpour off splendidly, and even seemed to shut up the peacocks.
The opera is quite pleasant, and I enjoyed it more than the previous night's Katya Kabanova at Royal Opera House. But I can see why it's rarely performed. Off the top of my head, there's only really three memorable numbers - the Flower Duet in the First Act (immortalised, it is said in the BA ad), the Bell song in Act 2 which has a spectacular and doubtless fiendishly difficult coloratura for the soprano in Act II, and a tenor aria in Act III.
Although I enjoyed the opera, the best bit for me was the dancing in the Temple in Act II - and as I look in the programme I find mention of Devadasis, of which I made mention on Sunday - so they must have been there in my subconscious.
On the plus side, I would give credit for producing a rarely-performed opera, and for an entertaining production. I don't know enough about India and Hinduism to guess how authentic it is, and the extent it was authentic I don't know was down to Delibes or resulting from multi-culturism. The cast was far from starry - the only name I recognised was Grant Doyle, but his role was insufficient to do full justice. Allison Bell was the eponymous heroine. She took a while to warm up, and was disappointing in the Flower duet, but very very impressive in the Bell song. I found the tenor, Philip O'Brien, disappointing. His CV states he was a finalist in a Wagner competition, and his roles include Don José and Florestan. I did not feel this role is suitable for a Don José/Florestan/Wagnerian. I felt there was too much strain from a basically uninteresting voice. And he committed the cardinal sin of a rubbish tenorial fall to the floor. Sort of bending his knees and staggering. More like a drunk than a tenor. And, at the end of the day, tenors must be judges by the way they fall to the floor, with bonus points for rolling around. I liked the mezzo, Antonia Sotgiu, and would like to hear her in a more substantial role (she has, for example, been Carmen for Mid Wales Opera).
All things considered, it was an enjoyable evening out at a lovely opera house. I wouldn't argue vociferously for this work to become a repertory mainstream but it is definitely enjoyable
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