Lakme [Blu-ray]

I'm inclined to be generous having waited so long for a production of Lakme in full screen with high-resolution picture and sound. For the most part, I'm not disappointed. Emma Mattthews is petite and attractive, with a glorious, note-perfect coloratura. The sets are quite nice combined with thoughtful touches of stage craft. Much attention to authenticity in the costumes adds a sense of beauty and realism. However, the ballet sequences, so appealing in the earlier Sutherland version, have been totally excised. Also, the acting, casting on the part of the male lead, Gerald (Aldo di Toro) is dismal. He has a lovely voice, but he acts as though he happened to pass by and was asked to come on stage to sing with no thought, preparation whatsoever. He might be forgiven in the sense that the story of Lakme and Gerald falling in love with no prelude, no development is itself pretty thin. But all the more need for thoughtful direction in making the most of this scene, which doesn't happen. Frederic (Luke Gabeddy)was not much better, but his role was not as critical. In contrast, all the woman look and act quite well. So, highly recommended for all that is beautiful and right about this production, but be prepared for that which is missing.

This is an easy review! WOW says it all in a nut shell. Opera Australia is on a roll: LAKME, TRAVIATA, RIGOLETTO and DON GIOVANNI. All creative, beautiful, colorful and vocally and musically excellent and most of the times more. Not always flawless; but always fascinating and engaging. Many times I'm almost fooled into believing "this is the first time I've experienced this piece" or WOW is that new! 1) Emma Matthews-Lakme. She is the real thing a lyric coloratura soprano who has it all: Stunning high E in the Bell Song, Runs, Staccatti, Beautiful Tone, Breath. Legato, Phrasing etc... Did I mention she can act and looks good too! 2) Aldo Di Toro-Gerald has a lovely tenore di grazia; It's a shame he can't act. BUT, he can sing! 3) Great music direction by Emmanuel Joel-Hornak; and wonderful playing by the Australian Opera and Ballet Orchestra. 4) Fine directing by Roger Hodgman. He treats it as a lovely lyric piece of oriental fluff and doesn't try to make it something it isn't. 5) Having now reviewed TRAVIATA, RIGOLETTO, DON GIOVANNI and the present LAKME I find some common threads of themes running throughout all of them: COLOR is used creatively and boldly in both Sets and Costumes. Audio is excellent. Camera work is top tier. The Video director doesn't seem to feel the need to change the angle every four or five seconds as in most of the current MET HD Broadcasts. Close ups are not extreme and hyper in the artists face. The long broad shot is not feared or rejected as being thought to be boring! All is done artistically and with great care and taste. 6)Stephen Bennett as Nilakantha does not have easy high notes; but, he is dramatically involved. 7) I was not impressed with Luke Gabbedy as Frederic. His voice lacks focus and he doesn't act but is always staring at the Conductor. 8) The English trio of ladies: Jane Parkin, Angela Brun and Roxane Hislop couldn't be better. 9) Dominica Matthews is also an asset as Malika; especially in the beautiful flower duet. 10) A drop dead georgeous score, orchestration and soaring melodies by an often time ignored French composer - Leo Delibes. 11) This excellent production is a true feast for eye and ear presented by a company who is making its artistic presence felt. I wish them well because no matter how creative or innovative the production they steer clear of Reggie or Trash and manage to stay true to the Libretto, the Music and The Composer. 12) Emma Matthews a local talent trained and developed by Opera Australia HAS ARRIVED as Blu-Ray, DVD and a new recital album on DGG prove beyond a shadow of a doubt. I look forward to seeing how her career progresses and develops. I also look forward to more Colorful and Creative releases from OPERA AUSTRALIA. BRAVI TUTTI!!! 13) Just a suggestion. Maybe a creative and well directed LUCIA OR PURITANI next?

There aren't many versions of this beautiful opera on DVD and, as far as I know, this is the only one on BluRay. Waiting for it was worthwhile although this production is not exceptional. The big surprise is Emma Matthews, she acts and she signs beautifully. The famous duet of Lakme and Malika is a treat, as well as the Bell Song. The rest of the cast is OK but not thrilling. This is filmed in front of a live audience, so some of the scenes look not so great in terms of illumination. The settings correspond to the composer and librettist ideas and are a delight to watch. Overall, a very nice experience worth buying the BlueRay version. I just hope other Opera houses will stage and record Lakme in the near future.

I use to by opera BD and DVDs from many countries, all region code free. I do not understand why this BD is restrict to region A. Opera lovers are usually international minded people and so the consumers.

There is more to Lakme than the famous duet of flowers. The opera abounds in wonderful music and some impressive vocal equilibristics. A great performance by Opera Australia.

Realmente me llama mucho la atencion los comentarios de los usuarios con respecto a los aspectos tecnicos de este blu ray.La imagen es muy buena (4,5/5) pero el sonido al menos en mi copia es realmente muy malo (1/5)sonido plano,sin brillo ni armonicos,las voces un poco mejor pero en general muy lejos del promedio de cualquier blu ray,para dar un ej. se encuentra a años luz de "Adriana Lecouvrer" (Decca) o Mahler 8º(Accentus).En cuanto al elenco las cosas mejoran sobre todo por Emma Mathews,no se si en el futuro comprare titulos de la Opera de Australia por lo arriba mecionado.

I have enjoyed watching this opera. It was a good quality performance. I enjoyed seeing it on Blue Ray. It was worth of money.

Leo Delibes, a late nineteenth century French composer most well known today for two ballets, the effervescent Coppélia and the bucolic Sylvia, and two numbers from his only opera still in the repertory. One of these is a duet for two women, immortalized in film in Tony Scotts 1983 The Hunger, and it is without a doubt the most sensuous duet of it kind this side of Venus, for love and loyalty is what it is about. In the opera it is sung by a princess and her slave; and it is thus in Tony Scott's movie, though in the film it is heard on the soundtrack while a vampire queen played by Catherine Deneuve seduces scientist Susan Sarandon. The other number in the opera is Lakme's scintillating and impossibly difficult "Bell Song" (Où va la jeune Hindoue?). A coloratura showpiece, in the hands (!) of a Mado Robin or Lily Pons, it is a marvel. I can't say why but I really didn't think Miss Matthews would pull it off. But she's rather good, despite that she's older and more robust than I imagine the character. The first thing we notice about this video after an initial concern that our projector bulb is on the way out - turns out things brighten soon after Lakme makes her entrance - is the remarkable restraint demonstrated by the video director, Cameron Kirkpatrick. Right from the outset, he allows the camera to linger and pull back some to include a relevant supporting character in the shot. Remarkably, there are relatively few extreme close-ups. It takes a moment to get one's bearings, so used we are to rapid cutting. Reds and greens especially are deeply saturated, popping nicely when spotlit. Backgrounds remain dark, almost to the point of crush. Not a fault of the transfer, I'm guessing this is merely the result of stage lighting that works better for the theater audience than for the limited contrast range of the video sensor. The orchestra is rich and dynamic, mostly directed forward than to the sides, even in the surround mix (as is my preference), so extra high marks here. The voices are liquid and unrestrained and unstrained with a little less of the usual projected-from-the-stage presence that we usually get in opera high-definition surround. The soprano duet in the first act and the Bell Song are ripe and far from anemic. The chorus never threatens to overwhelm; if anything, I could have enjoyed a little more presence from them. As for the singers, I have already remarked on our heroine. Aldo Di Toro's Gerald gets off to a tentative start, too thin and unsteady for a soldier, but soon gets his footing and remains in full voice for the rest of the opera - though tenors singing in French almost always sound reedier than in any other language to me. I don't much care for Stephen Bennett's Nilakantha - he's the only weak member of the cast - not nearly authoritative or characterful enough. Luke Gabbedy's Frederic is in command of a warm bass that doesn't threaten Gerald as the dominant, if hopelessly misguided male. Roxane Hislop's Mistress Benson is a comic delight. And Dominica Matthews' warm mezzo blends beautifully with Emma Matthews in their loving duet. The main bonus feature is a six or seven minute segment featuring stage director Roger Hodgman, who talks about how he approached his presentation of Lakmé given its being based on an earlier production. He adds some relevant comments about the opera and its history. A Cast Gallery rounds off this rather anemic collection of bonus features. Despite the light menu of bonus features, this Blu-ray from Australia gets very high marks: the singing cast, with only one exception, is very good; the sets and costumes are sumptuous and screen filling; the audio clear, well-balanced, and dynamic; the high bit rate helps realize all those bold colors; and the video direction is, for a change, relaxed. Lakmé is a curious piece. It remains intimate despite its tableau-rich staging. It looks big, but sounds small - something like Mozart's Abduction from the Seraglio. It's easy on the ears and pleasant to look at. Warmly recommended.

o.k.

An opera lover would be missing something really wonderful if he missed out on this long long long awaited production, especially in the blu ray format. BUY IT and forget the little flaws I have pointed out in this review. The other video recording I have of this is the celebrated and venerated old one that has Joan Sutherland. Comparisons between the two would not be fair, as both are separated by decades that have seen changing styles, values and other attributes that have gone on to staging an opera as beautiful as this. That having said, Joan Sutherland would never have been able to pull off acting and stage presence at least in this opera, as Emma Mathews has in this one. Emma is truly the star of this production, and her handling of both singing and acting really touched me to the core. I can definitely deem Stephen Bennet (Nilakanta) as the 'other' star in this production. Dominica Mathews as Mallika impressed. I cant say I was too impressed with Aldo Di Torro. His acting is just a notch above lousy and his singing, although sweet and flawless;this production could have done with a more powerful tenor. Torro I think is an excellent tenor of the second tier. The rest are quite OK, but nothing to rave about. Hadji looks and acts like a kid younger than Lakme.... a little thought to the makeup could have made him more acceptable. The video and sound are as good as they can be and made this production absolutely enjoyable. Kudos to the Post production team. The lavishness of the sets and the stage direction were just superb. This production had everything... ALMOST everything to deserve a well earned 5 stars rating... Why 'Almost' perfect rather than absolutely perfect? A few flaws I would point out that did disappoint me. 1.WHY NO BALLET? Delibes was primarily a composer who strode the ballet theater as a titan of his times. The ballet music he wrote for this Opera is one of the finest even by his lofty standards. Can you imagine an opera of Tchaikovsky with ballet music in it, being performed without it? To maintain the 'intensity' of the drama, some directors dropped the ballet altogether from Gounod's Faust, and they have not done too well either. Especially when Opera Australia has one of the finest in-house ballet theaters in the world, to omit that from a production of this scale is unpardonable. Inclusion would only have heightened the intensity and enjoyment and not distracted one bit. This is the ONLY reason for my deducting one star from the maximum. The point No.2 is just personal, and for a worldwide audience, does not really matter, but all the same, I have to point it out. 2. I am an Indian, and for an Indian, Lakme as an opera is just as important as Turandot is to a Chinese and Madama Butterfly to a Japanese. Oodles of productions of the other two have given a very thorough eye to detail that only people of those countries could appreciate, although it is irrelevant to a worldwide audience. (Why does Rolls Royce have 18 coats of Paint? Well.. that is what makes the Rolls a Rolls) Just look at the beautifully done curtain for this production. The costumes in those curtains are actually the true representation of the ordinary Indian folk of the 19th century. The costumes used here throughout, be they peasants, merchants or the rich folk are all of the same opulent styles that only the rich used to wear, that too at private functions, and not at the market place and definitely not at Temple festivals. Bollywood influence of the worst type. Just as an analogy, would you tolerate a production of either a play or an opera, for example 'My fair lady' wherein the whole population downtown, flower sellers, hawkers etc wear clothes as if they were at the Ascot races? Variety and mixture of the costumes would have done wonders for the reputation of the costume designer. Same goes with men too, all looking as though they just came out of the court of Akbar the Great. Look at most other opulent productions of Operas. Peasants look like peasants and Royalty as Royalty. The mix does more than just being apt. Nilakanta, the police and the British officers are the only ones who have an appropriate costume. A daughter of a beggar who is a singer (Lakme in Act II) would never have donned such a bejeweled sophisticated costume to wear, especially as a street singer. 3.Some basic research on a Hindu altar, even visiting a local temple would have made it amply clear, that no where in India, especially in the house of a Brahman would one light candles (except for light during a power failure)... only oil lamps are lit. Especially in the 19th century, (even today to an extent), it was blasphemous to light candles at a Hindu altar, as candles came with the Christian Church and symbolized the difference of faiths and traditions .. Very basic but true. Act III of the production falters on this one. These little flaws do not take anything away from the production.... but I think someone had to point it out.

Non Lakmé n'est pas une opérette, et Emma Matthews, elle, le démontre bien...Le reste de la distribution, notamment chez les hommes, est assez décevante...Pas un instant Aldo Di Toro n'est crédible en jeune officier de l'armée Anglaise, et Luke Gabbedy parait bien emprunté dans son uniforme, comme dans le role de Frederic...Malheureusement en ce qui concerne leur voix et leur interprétation, là aussi la déception est grande, le role de Gérald exige aussi dans tel ou tel passage, une certaine vaillance...Par contre les décors (un peu kitsch, mais pourquoi pas), les costumes, les choeurs et la direction musicale sont remarquables...Mais ne me font pas pour autant oublier la Salle Favart, quand Lakmé était Christiane Eda-Pierre et Gérald, Georges Liccioni, Alain Vanzo ou Roger Gardes.

Lakme is not in the same league as the powerful works of Wagner or Verdi. However it is a beautiful and highly melodic piece of 19th Century faux orientalism which is thoroughly enjoyable and looks stunning in this blu-ray production. Thankfully there is no attempt to find a modernist production. The sets and costumes are traditional and highly lavish. In fact, the whole thing looks wonderful. The performers are all good, with Emma Matthews as Lakme giving a fine performance. The Flower Duet and Bell Song are beautiful and virtuosic respectively and come off perfectly. I would recommend this to everyone who enjoys opera. Prepare to be bowled over by a largely forgotten exploration of the effects of colonialism.

The parcel was delivered to me on Tuesday, January 5th. Only one of items (Bernstein) arrived the day before. The rest is fine.