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Unique asphyxiation « parterre field


The Opéra Comique’s sold-out season of Lakmé appears to be the most popular ticket in Paris in the mean time. With an eagerly anticipated new manufacturing by Laurent Pelly starring French diva du jour Sabine Devieilhe, tickets had been troublesome to return by.

Sadly, having managed to safe myself a seat at this occasion, I discovered Friday evening’s efficiency to be each politically insensitive and musically messy (with just a few notable exceptions). Briefly, each the mise-en-scène and the musical route amplified absolutely the worst tendencies of the unique work in essentially the most tasteless and baffling methods.

Within the introductory music historical past course that I educate at Columbia, I like to start by educating Lakmé. Not as a result of I feel it’s a very good opera. However as a result of it accommodates plenty of well-known set items that many college students know out of context (the “Flower Duet,” the “Bell Tune”) and since the context from which they originate is especially horrendous.

An opera in regards to the colonization of India, written within the wake of two devastating famines within the British colony (the Bihar Famine of 1873-4 and the Nice Famine of 1876-8—each exacerbated by continued expropriation of crops again to the metropole), Lakmé rendered actual colonial violence as trashy operatic spectacle.

It was a lurid and shameless cash-in on these painful colonial occasions, designed to commercialize them, exoticize them, and promote them to the Parisian public.

And what a flashy event it was! The unique manufacturing (within the earlier Salle Favart) value 80,000 francs (over 7 million USD as we speak), giant parts of which was spent on jewels for Lakmé’s costume—a staggering quantity, particularly contemplating that the opera’s actual colonial topics had been actually ravenous.

The last word message of Lakmé is that the colonization of India is in the end justified: that {that a} colonizer’s responsibility to the colonial targets of his homeland should trump any emotions he has in the direction of the colonized, and that any cultural miscegenation between colonizer and subaltern is inevitably doomed.

On the shut of the opera, Lakmé martyrs herself to make sure that the sleek work of colonization can proceed (“Sa patrie à ses yeux s’est dressée!”), enjoying into the imperial fantasy that the colonial challenge was in a roundabout way noble or sanctified.

I made the error of attending the pre-concert speak earlier than Friday evening’s efficiency. One of many audio system insisted that the opera was a “true” and “stunning” depiction of Hinduism on the time.

The issue is that I’m unsure that even the opera’s creators, Léo Delibes and Edmond Gondinet, would argue that the opera was a “truthful” depiction of something.

The opera relies on a best-selling semi-autobiographical novel by the real-life colonialist, naval officer Pierre Loti and was set in Tahiti, which was (and stays) a French colony. His “Lakmé” is called “Rarahu” and is thought in Tahiti for her skill to sing “an infinite number of bird-like tones, some strident, some as delicate as a linnet’s word, and going up, up, to the best word of the size,” thereby offering musical inspiration for Delibes’s rating.

For political causes, Gondinet and Delibes determined to maneuver the setting of the opera from French-occupied Tahiti to British-occupied India. On this manner, the opera wouldn’t immediately tackle the tensions and difficulties of life within the French colonies, as a substitute transposing these doubtlessly thorny points to a British colony.

Problems with cross-racial need, of colonial unrest, and of martial desertion wouldn’t solely be simpler to get previous censors, however they might even be extra palatable to the Parisian public in the event that they had been positioned in a British colonial context reasonably than a French one.

India was, in some ways, an apparent alternative. France had battled with Britain over management of the colony over a century prior and, because of this, nonetheless had colonial enclaves within the area (most notably at Pondichéry, Karaikal, and Mahé) which had been economically threatened by the British colonial regime. An opera a couple of British colonist destructively giving in to forbidden wishes would, subsequently, not increase any eyebrows. (Additionally throw into the combo the creators’ fascination with exoticist literature, notably, Théodore Pavie’s “Les babouches du Brahmane”).

There’s one other anecdote (unverifiable, after all) that Delibes and Gondinet selected India for botanical causes: the authors allegedly had determined that Lakmé poison herself by chewing a leaf and, having researched plenty of toxic vegetation, selected datura stramonium (which is, certainly, named within the stage instructions). They purportedly selected to set the intrigue in India as a result of they believed that this was the place datura stramonium was native.

Both manner, it’s clear that Gondinet and Delibes had been extra involved that the opera merely have an unique setting than in regards to the cultural specificity of the setting itself. “Truthfulness” very a lot took a again seat to political, industrial, and aesthetic issues.

Delibes’s rating is a loopy mish-mash of types and owes little or no to Classical Indian music. The well-known “Flower Duet” is probably a first-rate instance of this: it’s famously a barcarolle—a gondolier tune, to match the river that Lakmé and Mallika describe—catering to a vogue for the shape within the early Third Republic.

Even critics on the time picked up on the imprecise cultural attitudes of Delibes’s opera. Henri Blaze-de-Bury, writing within the Revue des Deux Mondes, slammed the opera’s aimless exoticism:

One other orientalist, however a a lot much less convincing one, is Mr. Léo Delibes—a second-rate orientalist—extra of an excursionist, let’s say. By him, we enter the orientalist fantasy of a Parisian muse: don’t ask rather more basic reality from Lakmé’s rating. It’s the identical previous standard artwork—delicate, delicate, skillful, decorous, ornamented based on the prevailing style. English or Chinese language India? Allow us to not labor this element!

“Second-rate orientalist” may also describ Pelly, whose neo-primitivist manufacturing expounded the generic, gaudy exoticism of Delibes’s opera in a manner that solely bolstered the racist message of the opera’s creation: it doesn’t matter how we characterize the subaltern so long as we characterize them as barbarians.

Pelly’s Brahmins are coated from head to toe in white mud, as if they’ve been rolling on the bottom; their hair is matted and soiled; they put on easy calico tunics. The set is made from bamboo and papyrus, with just a few origami flowers scattered right here and there. The whole lot was pared down, easy, a bit of bit gritty. And crucially, none of those components instructed one specific tradition, as a substitute gesturing in the direction of the “orient” normally.

True, this has not one of the orientalist opulence of the unique 1883 manufacturing. However the message is simply as disquieting. Pelly has as a substitute gone for a “noble savage” stereotype right here, through which the exoticized ars povera of his Brahmins—a sort of imprecise orientalist minimalism—is introduced as an object of Western need.

On prime of this uniquely racist aesthetic, there have been, after all, plenty of hackneyed racial stereotypes. Pelly’s Brahmins spent a whole lot of time crouching, kneeling, or in any other case bending over—postures designed to underscore their “otherness.” Worse nonetheless had been the pretend “ritualistic” hand gestures that had been liberally dotted all through the staging.

However by far essentially the most weird ingredient of the manufacturing got here throughout the so-called “Flower Duet.” As Mallika (Ambroisine Bré, a heat, understated efficiency) undressed Lakmé of her manifold jewels, varied attendants entered to obtain the trinkets—all carrying black burqas.

Given the troublesome historical past of this garment in France and the disturbing rise of French Islamophobia, this struck me as politically insensitive. And it was a weird alternative on condition that the opera purportedly depicts a Hindu area of British India.

Raphaël Pichon, main the Pygmalion orchestra, provided a musical interpretation of Delibes’s rating that was simply as messy as Pelly’s manufacturing. The orchestra was plagued with intonation points from the very starting—particularly within the woodwinds and strings. Quick, loud unison passages within the strings uncovered a lot indecision round tuning; the rating’s moments of Wagnerian dissonance had been usually harmonically incomprehensible.

There have been additionally plenty of timbral mishaps—squeaks and squawks from varied woodwinds—and a few coordination points between refrain and orchestra in the direction of the start of the opera.

These difficulties don’t essentially make for a dissatisfying efficiency. However Pichon’s conducting merely felt slapdash. The whole lot appeared rushed—not in a manner that created a way of urgency, however in a manner that made me really feel prefer it all glided by too quick to be price listening to.

And there was so little shade, so little selection: I’d have appreciated this reasonably hurried, monotonous tour via Delibes’s rating to have extra dynamic shade, extra textural curiosity, extra consideration to element.

Luckily, Devieilhe introduced a contact of nuance to her efficiency of the title function. Her voice had a bell-like readability, particularly within the decrease and center registers, the place each phrase was completely audible and the tone clear and glowing.

Devieilhe made a lot of the lyricism of Delibes’s heroine: the assorted wordless vocalises that pepper the rating had been delivered with crystalline class, whereas her cantabile arias (“Sous le ciel tout étoilé,” particularly) had been deliciously finely spun. And if the very prime of her voice could possibly be a bit of pallid and overly vibrant, a supple, delicate coloratura added a way of freshness to the “Bell Tune.”

Nevertheless, the function of Lakmé shouldn’t be all beautiful glassy lyricism, and I usually felt that Devieilhe’s voice and stage presence obtained misplaced within the function’s extra dramatic moments: on the finish of the primary act when Lakmé begs Gérald to depart; or simply earlier than she takes the poison and he or she confronts Gérald about his modified countenance.

Right here, Delibes’s heavier orchestration usually overpowered the soprano, which, together with Pelly’s blocking, usually made her Lakmé appear much more helpless and devoid of company than one may count on.

Frédéric Antoun’s Gérald was additionally no match for Délibes’s orchestra: the surging romanticism that underpins Gérald’s arias invariably swallowed up this reasonably mild voice. To me, Antoun’s voice felt a bit of too coated, a bit of too guarded for the function, solely sometimes opening up right into a full, vibrant tenorial sound, preferring, as a substitute, a safer, sweeter quasi-falsetto.

The function took an apparent toll on Antoun’s instrument. The ends of phrases (particularly unstressed vowels) had been usually swallowed, as if he had been working out of breath. In direction of the top of the efficiency, he started to “mark” some passages.

The true star of the night was Stéphane Degout, whose Nilakantha was a commanding presence in an in any other case muddled manufacturing. His was a big sound, tooled right into a positive instrument by a brightness of tone and a readability of resonance, particularly within the higher register.

His “Lakmé ton doux regard se voile” was completely wonderful—concurrently tender and forceful. For me, it felt like one of many few moments of real dramatic expression in a efficiency that in the end left me chilly and reasonably unsettled.



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