lakme dessay plasson

Flower duet from Lakme composed by Leo Delibes Natalie Dessay - Soprano Delphine Haidan - Mezzo soprano Orchestre National du Capitole de toulouse Michel.
Acte III - N.15 - Berceuse Sous le ciel tout étoilé Delibes Acte III - N.15b - Recitatif Quel vague sovenir alourdit ma pensée? Delibes Acte III - N.16 - Cantilene Lakmé! Lakmé! Ah! viens dans la foręt profonde Delibes Acte III - N.17 - Scčne & Choeur Lŕ, je pourrai t'entendre Delibes Acte III - N.18 - Scčne Vivant! Delibes Acte III - N.19 - Duo Ils allaient deux ŕ deux Delibes Acte III - N.20 - Finale C'est lui! C'est lui! Delibes Acte II - N.10 - Scčne Ah!. Par les dieux inspirés Delibes Acte II - N.11 - Scčne La rage me dévore Delibes Acte II - N.12b - Recitatif Le maître ne pense qu'ŕ sa vengeance Delibes Acte II - N.12 - Scčne & Choeur Au milieu des chants d'allégresse Delibes Acte II - N.13 - Duo Lakmé! Lakmé! C'est toi! Delibes Acte II - N.14 - Finale O Dourga, toi qui renais Delibes Acte II - N. 9b - Récitatif Ah! c'est de ta douleur Delibes Entr'acteDelibes I.a Introduction : « Ŕ l'heure accoutumée »Leo Delibes (1836-1891) I.b Pričre : « Blanche Dourga »Leo Delibes (1836-1891) I.c Scčne : « Lakmé, c'est toi qui nous protčges ! »Leo Delibes (1836-1891) I.d Duetto : « Viens, Mallika »Leo Delibes (1836-1891) I.e Scčne : « Miss Rose, Miss Ellen »Leo Delibes (1836-1891) I.f Quinquette & couplets : « Quand une femme est si jolie »Leo Delibes (1836-1891) I.g Récitatif : « Nous commettons un sacrilčge »Leo Delibes (1836-1891) I.h Air : « Prendre le dessin d'un bijou »Leo Delibes (1836-1891) II.a Choeur & scčne du marché : « Allons, avant que midi sonne »Leo Delibes (1836-1891) II.b Récitatif : « Enfin! Nous aurons du silence! »Leo Delibes (1836-1891) II.c Airs de danse - IntroductionLeo Delibes (1836-1891) II.d Airs de danse - TerânaLeo Delibes (1836-1891) II.e Airs de danse - RektahLeo Delibes (1836-1891) II Entr'acteLeo Delibes (1836-1891) II.f Airs de danse - PersianLeo Delibes (1836-1891) II.g Airs de danse - Coda avec choeurs : « Ah! Ah! Par nos yeux charmés.
Natalie Dessay (Lakmé) Gregory Kunde (Gerald) José Van Dam (Nilakantha) Patricia Petibon (Miss Ellen) Xenia Konsek (Miss Rose) Bernadette Antoine (Mistress Bentson) Franck Leguérinel (Frederic) Delphine Haidan (Mallika) Charles Burles (Hadji) Orchestra & Chorus of the Capitole de Toulouse/Michel Plasson EMI Classics CDCB 56569 DDD 2CDs: 74:59, 68:56 There is a great deal more to Lakmé than the Bell Song, so beloved by conceited coloraturas and their frenzied admirers. It's one of those operas that surprises you with the number of ear-catching melodies that it contains. It was premièred in 1883, and it was the last big hit for composer Léo Delibes, whose other successes were the ballets Coppélia and Sylvia. Lakmé is a variation on a popular theme - Eastern maiden falls in love with Western military man, then kills herself when he betrays her - whose operatic climax probably came with Madama Butterfly. However, today's Miss Saigon shows that there still is some juice to be squeezed from that papaya. To the best of my knowledge, this is the fourth commercial recording of Lakmé to achieve general distribution. The first, recorded in the 1950s, featured the great French soprano Mado Robin, and that stylish London/Decca recording would be very welcome in a CD reissue, even if the sound is mono. More than a decade later, Joan Sutherland recorded it, also for London/Decca, and then Robin's successor Mady Mesplé made one for EMI. Each of these stereo recordings is on CD, and each has something to recommend it. This newcomer, apparently the first in 25 years, has the advantage of being the first in digital sound. It also has a largely charming cast and caring, knowledgeable conducting by Michel Plasson. Natalie Dessay, a rising star, rejects the idea of a twittering and insipid Lakmé. Young in voice but mature in concept, she puts considerable effort into making the little.
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Leo Delibes is best-known today for his ballets Coppélia and Sylvia, the song Les filles de Cadix and the opera Lakmé. The latter lives on in the Bell Song, performed as a vehicle for high coloratura sopranos. The opera itself was a great success from the beginning and even challenged Carmen in popularity. In 1960 the Opéra-Comique gave it for the 1,500th time at a performance arranged for soprano Mado Robin’s 42nd birthday. Alas she died of cancer a few days earlier. Lakmé was her greatest role and hearing her on this recording it is easy to understand the enthusiasm of the audiences. The role could have been written with her voice in mind. Among earlier singers who excelled in the title-role one can mention Luisa Tetrazzini, Amelita Galli-Curci and Lily Pons who also recorded the opera in 1940. Joan Sutherland recorded it in Monte Carlo with Alain Vanzo and Gabriel Bacquier under Richard Bonynge. Mady Mesplé, Charles Burles and Roger Soyer were also joined by the Opéra-Comique ensemble, conducted by Alain Lombard. In 1995 Virgin issued a recording with the ever-reliable Michel Plasson. His trump card is Natalie Dessay who is as close to perfection as one can imagine in the title role and the only serious contender against the issue under consideration. The story of Lakmé is set in India during the 19th century. The English have forbidden Brahminism but the Brahmin priest Nilakantha still practises it in the temple, helped by his daughter Lakmé. Two English officers, Gerald and Frederic, intrude into the temple precinct, together with two English girls and their governess. Gerald stays behind to make sketches of some jewellery and when Lakmé enters he falls in love with her. She tells him to leave and forget that he ever saw her. When Nilakantha becomes aware of the intrusion he swears that he will kill the guilty ones. In disguise he brings Lakmé to the.