Delibes - LakmA© / Dessay, Kunde, van Dam, Petibon, Haidan, Konsek, LeguA©rinel, Plasson

For all its exotically tinged, trademark Orientalism, so fashionable in late-19th-century France, Delibe's opera Lakmé is at heart a simple story of tragically misplaced love. This marvelous and sensitively wrought interpretation renders the intensity of that love story with a surprising emotional credibility. Conductor Michel Plasson allows the music's arching melodies to breathe and unfold leisurely, like a lovingly cultivated floral display; he even discovers hidden nuances within the formulaic fluff that pads Delibe's score. And his vision is shared by the outstanding principals here. As the titular Hindu princess, Natalie Dessay gives a jewel-like performance, full of stunningly shaped phrases and tapered notes that sound like spun silk (and one that can favorably compare with Joan Sutherland's account on London). Yet she also offers substance where others are satisfied with mere vocal beauty, conveying both the fatal innocence of her character and an intense capacity to suffer. Gregory Kunde portrays the English interloper Gerald with moving tenderness, while he manages the high tessitura of the part with elegance and flexibility. There's a sense of shared vulnerability that the pair bring to their first duet, one of several unforgettable touches on this recording. The cast is filled out with rich characterizations, most notably José Van Dam's imposingly authoritarian Nilakantha. The subtle intimacy of detail Plasson inspires throughout as well as the fine engineering makes this recording a winner. --Thomas May Amazon.com

Perfection

Natalie Dessay's crystal clear coloratura is what brings this set to absolute life. One only needs to hear the beginning of the "Air des clochettes" to know that his has to be one of the greatest artists of our time. The subtlety and clarity in her voice is astonishing. Having heard the Sutherland version, I can say with utmost confidence that this set...kicks the Sutherland one in the pants (and I'm a big Sutherland fan).

The rest of the cast is just as impressive. Gregory Kunde soars to the rafters as Gerald, and Jose van Dam makes a dark and imposing Nilakantha.

The only problem that I could have with this set is the libretto. It was just a little sloppy. Reading the English side, there were several grammatical errors (verb tense and so forth). It was as if the translator hadn't taken English in a few years. On one page they printed the French on both sides, that didn't help me very much! These are minor problems, and the incredible singing easily overcomes them. January 1, 2008

Brilliant and atmospheric

The glory of the EMI set is the fresh, girlish portrayal of the heroine by Natalie Dessay, starrily seductive with her silvery, girlish tone, first heart ravishingly for afar. Technically, she is superb too, and the "Bell Song" becomes a narrative, not just a coloratura display piece. As Gerald, Gregory Kunde has an appealing light and heady tenor, sounding totally idiomatic. Jose van Dam as the vengeful Nilakantha is not a menacing as some, but he sings with satisfying firmness. Delphine Haldan's fruity mezzo contrasts rather than blends with Dessay's soprano in the popular "Flower duet," but with Plasson warmly expressive, generally taking an expansive view, the sensuousness of the score is well brought out, helped by the atmospheric Toulouse recording, though not as sharply focused as the vintage Decca recording, Bonynge more bitingly dramatic. September 15, 2007

The Greatest Lakme ever!

With her ability to color every phrase delicately, Natalie Dessay is undoubtedly this century's greatest coloratura soprano. Highly underrated, she could easily bring truth to her interpretation of this Lakme through her very good reading of the score and her ability to enunciate her French very well. Gregory Kunde is one of the greatest rising French tenors. Michel Plasson showcases Delibes' mystical and erotic music through a very passionate, delicate, and at the same time flowing reading of the music. A must for any fan of this great opera. I would recommend it highly over the Mady Mesple and definitely over the Sutherland version. Own it today, you won't be disappointed. February 2, 2005

Wow....

I shall not go into individual performers...there are several other reviewers that do that very well. My somewhat disjointed impressions are the following:
.....If there is a better Lakme...I don't think I could listen to it. This is as much beauty as I can tolerate.
.....I have listened to other recordings of Lakme but none matches this (and this is the only one that I actually own).
.....You usually find what you are looking for...if it is imperfections there are some within this recording; however, if it is beauty that you seek then you have found it.
.....One disclaimer: This was the first recording of Lakme that I heard, that may have biased my opinion relative to other recordings (i.e., First Loves being the most intense, etc.).

Cheers!! August 18, 2004

Excellent

This is an opera full of beautiful moments and with one small exception, I could not ask for better soloists. Plasson's conducting carefully nurtures stunning sounds from the Orchestre du Capitole de Toulouse and the Choir is equally attentive. The "Bell Song," for example, is done at a more graceful pace (a little slower) than normally performed and the result is exquisite.

Natalie Dessay's sweet, crystalline voice lovingly captures Lakme's delicate character. She produces each note with such finesse and emotion that you are almost completely taken. The other singer to capture your appreciation is Gregory Kunde. There are tenors that I hold in great and high esteem, Placido Domingo is foremost for me. Giuseppe Di Stefano and Sergei Larin are examples of other tenors who I find just amazing but NEVER have I encountered a voice as stunning in a role as Kunde's. His Gerald is never strained, always smooth, and passionately urgent without being the slightest bit overdone. The most immediately likeable tenor voice I have ever heard on disc.

Jose Van Dam is a singer I came to appreciate most for his Amfortas in Wagner's "Parsifal". Here, devoid of Wagner's tortured arrogance, his voice is even warmer and more expressive. Bernadette Antoine (the small exception) is an overly "fruity" Mistress Bentson and this is the recording's only minor flaw, in my view (her chest register is rather poor and the sound isn't pretty). The other roles are all excellently sung, particularly Delphine Haidan's Malika, whose Flower duet with Lakme is the definition of 'sublime'.

The sound is clear digital. I can't recommend this opera enough. It's a very human story from the plot to the music (whatever the French word for 'verissimo' is). Speaking of 'French' the diction is totally convincing to my ears. I can find no faults. July 23, 2004

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