Opera Books
The Standard Operas
By George P. Upton
1928
DELIBES (LEO)
THE romantic opera,
“Lakme,” produced in Paris, April 14, 1883, was first performed in this country
by the American Opera Company in 1886, Mme. L’Allemand taking the title role. The
principal characters are Lakme, daughter of Nilakantha, an Indian priest; Gerald and
Frederick, officers of the British Army; Ellen and Rose, daughters of the Viceroy; and
Mrs. Benson, governess. The scene is laid in India. Nilakantha cherishes a hatred of all
foreigners. The two English officers, Gerald and Frederick, accompanied by a bevy of
ladies, intrude upon his sacred grounds. They stroll about and gradually retire, but
Gerald remains to sketch some jewels, which Lakme has left upon a shrine while she goes
flower-gathering with her slave Mallika, and evidently also to await developments when she
returns. Lakme soon approaches in her boat, and there is a desperate case of love at first
sight. Their demonstrations of affection are interrupted by the appearance of the priest,
whose anger Gerald escapes by fleeing, under cover of a convenient thunderstorm. In the
next act Lakme and her father appear in the public market-place, disguised as penitents.
He compels his daughter to sing, hoping that her face and voice will induce her lover to
disclose himself. The ruse proves successful. Nilakantha waits his opportunity, and
stealing upon his enemy stabs him in the back and makes good his escape. In the third act
we find Gerald in a delightful jungle, where Lakme has in some manner managed to conceal
him, and where she is carefully nursing him with the hope of permanently retaining his
love. She saves his life; but just at this juncture, and while she is absent to obtain a
draught of the water which, according to the Indian legend, will make earthly love
eternal, Gerald hears the music of his regiment, and Frederick appears and urges him back
to duty. His allegiance to his queen, and possibly the remembrance of his engagement to a
young English girl, prove stronger than his love for Lakme. The latter returns, discovers
his faithlessness, gathers some poisonous flowers, whose juices she drinks, and dies in
Gerald’s arms just as the furious father appears. As one victim is sufficient to
appease the anger of Nilakantha’s gods, Gerald is allowed to go unharmed.
The first act opens with a chorus of Hindoos, oriental in
its character, followed by a duet between Lakme and her father; the scene closing with a
sacred chant. The Hindoos gone, there is a charming oriental duet (“ ‘Neath
yon Dome where Jasmines with the Roses are blooming”) between Lakme and her slave,
which is one of the gems of the opera. The English then appear and have a long, talky
scene, relieved by a pretty song for Frederick (“I would not give a Judgment so
absurd”), and another for Gerald (“Cheating Fancy coming to mislead me”).
As Lakme enters, Gerald conceals himself. She lays her flowers at the base of the
shrine and sings a restless love-song (“Why love I thus to stray?”). Gerald
discovers himself, and after a colloquy sings his ardent love-song (“The God of Truth
so glowing”), and the act closes with Nilakantha’s threats.
The second act opens in the market square, lively with the
choruses of Hindoos, Chinamen, fruit venders, and sailors, and later on with the
adventures of the English party in the crowd. Nilakantha appears and addresses his
daughter in a very pathetic aria (“Lakme, thy soft Looks are over-clouded”).
Soon follows Lakme’s bell-song (“Where strays the Hindoo Maiden?”), a
brilliant and highly embellished aria with tinkling, accompaniment, which will always be a
favorite. The recognition follows; and the remaining numbers of importance are an
impassioned song by Gerald (“Ah! then ‘t is slumbering Love”), with a
mysterious response by Lakme (“In the Forest near at Hand”). A ballet, followed
by the stabbing of Gerald, closes the act.
In the ·third act the action hastens to the tragic
denouement. It opens with a beautiful crooning song by Lakme (“ ‘Neath the
Dome of Moon and Star”) as she watches her sleeping lover. The remaining numbers of
interest are Gerald’s song (“Tho’ speechless I, my Heart remembers”),
followed by a pretty three-part chorus in the distance and Lakme’s dying measures,
“To me the fairest Dream thou ‘st given,” and “Farewell, the Dream is
over.” Though the opera is monotonous from sameness of color and lack of dramatic
interest, there are many . numbers which leave a charming impression by their grace,
refinement, and genuine poetical effect.
Last updated October 30, 2006