Léo Delibes’ Flower Duet from Lakmé (1883)

Léo Delibes (1836–1891) was a French Roman­tic com­pos­er, best known for his bal­lets and operas. His works include the bal­lets Cop­pélia (1870) and Sylvia (1876), both of which were key works in the devel­op­ment of mod­ern bal­let and remain core works in the inter­na­tion­al bal­let reper­toire, and the opera Lak­mé (1883), which includes the well-known “Flower Duet”. I say “well-known”; it’s pos­si­ble that you know it with­out know­ing you know it (although you may need to wait for the 1.05 minute mark before it clicks). Although Delibes’ name may be less famous today than oth­er con­tem­po­rary French com­posers such as Berlioz, Debussy or Rav­el, the melody he has bequeathed is a gem.

Lak­mé was Delibes’ attempt at a seri­ous opera, hav­ing com­posed sev­er­al light com­ic opérettes in the 1850s and 1860s. The opera com­bines many ori­en­tal­ist aspects that were pop­u­lar at the time: an exot­ic loca­tion (sim­i­lar to oth­er French operas of the peri­od, such as Bizet’s Les pêcheurs de per­les and Massenet’s Le roi de Lahore), a fanat­i­cal priest, mys­te­ri­ous Hin­du rit­u­als, and “the nov­el­ty of exot­i­cal­ly colo­nial Eng­lish peo­ple”. The stuff that would prob­a­bly dis­com­fit mod­ern sen­si­bil­i­ties but which in 1883 was firm­ly de rigueur.

The opera includes the Flower Duet (“Sous le dôme épais”) for sopra­no and mez­zo-sopra­no, per­formed in Act 1 by Lak­mé, the daugh­ter of a Brah­min priest, and her ser­vant Malli­ka. Here we see it per­formed by sopra­no Sabine Devieil­he and mez­zo-sopra­no Mar­i­anne Cre­bas­sa.

Inci­den­tal­ly, have you ever won­dered how for­eign lan­guage poems still rhyme when trans­lat­ed into Eng­lish? Of course, this is where trans­la­tion has to be cre­ative in its own right. The Flower Duet pro­vides a case in point. See how Theodore T Bark­er, in 1890, turned the orig­i­nal French lyrics into singable Eng­lish, pre­serv­ing the form and rhyme:

French lyrics
Viens, Malli­ka, les lianes en fleurs
Jet­tent déjà leur ombre
Sur le ruis­seau sacré
qui coule, calme et som­bre,
Eveil­lé par le chant des oiseaux tapageurs

Lit­er­al Eng­lish
Come, Malli­ka, the flow­er­ing lianas
already cast their shad­ow
on the sacred stream
which flows, calm and dark,
awak­ened by the song of row­dy birds.

Singable Eng­lish
Come, Malli­ka, the flow­er­ing vines
Their shad­ows now are throw­ing
Along the sacred stream,
That calm­ly here is flow­ing;
Enlivened by the songs of birds among the pines.

Leo Delibes

Dick Clement and Ian La Frenais’s Auf Wiedersehen, Pet (1983)

If you grew up in Britain in the sev­en­ties, you would be well-versed in the comedic TV out­put of writ­ers Dick Clement and Ian La Fre­nais: What­ev­er Hap­pened To The Like­ly Lads? (1974–1976) and Por­ridge (1974–1977) were a sta­ple of whichev­er night they were broad­cast. I loved those shows of course, but in 1983 the pair launched a com­e­dy-dra­ma so replete with char­ac­ter and bril­liant dia­logue that it stands out for me as a mas­ter­piece: Auf Wieder­se­hen, Pet.

Sev­en Eng­lish con­struc­tion work­ers leave an unem­ploy­ment-hit Eng­land to search for employ­ment over­seas and find them­selves liv­ing and work­ing togeth­er on a build­ing site in Düs­sel­dorf. The “mag­nif­i­cent sev­en” char­ac­ters were Den­nis (Tim Healy), Neville (Kevin Whate­ly), Oz (Jim­my Nail), Bar­ry (Tim­o­thy Spall), Moxy (Christo­pher Fair­bank), Bomber (Pat Roach) and Wayne (Gary Holton). I don’t know how the cast­ing process works, but they struck gold with this group of actors; they dis­played an on-screen chem­istry and authen­tic­i­ty that warmed the hearts of the view­ing pub­lic.

The tri­umvi­rate of Den­nis, Neville and Oz pro­vide the core of the group due to their Geordie ori­gins and shared trade as brick­ies, though the three couldn’t be more dif­fer­ent: whilst Den­nis pro­vides the com­mon sense and prag­mat­ic lead­er­ship, Neville is an inex­pe­ri­enced and home­sick fish out of water, and Oz…well, what can we say about Oz? No fil­ters or self-con­scious­ness, blunt and iras­ci­ble, bla­tant­ly xeno­pho­bic ten­den­cies, a ser­i­al abscon­der from his mis­sus, Oz is no angel (and a con­stant source of angst to the others)…but hilar­i­ous nonethe­less.

Bar­ry, an elec­tri­cian from the Black Coun­try, loves to expound bor­ing­ly but charm­ing­ly on the diverse range of top­ics he’s read about, which are usu­al­ly of no inter­est to the oth­ers because they don’t involve beer or women. Wayne the Cock­ney wom­an­is­er of the group, Moxy the slight­ly odd and usu­al­ly under-the-weath­er Scouser, and Bomber, the gen­tle Bris­to­lian giant who nonethe­less is well-capa­ble of look­ing after him­self, com­plete the group.

The key word for me about Auf Wieder­se­hen, Pet is “authen­tic” – the day-to-day ban­ter on site, in “bar­racks”, and out on the town, feels real and it’s a joy to watch. Here’s a mon­tage of typ­i­cal Auf Wieder­shen, Pet fare.

The Auf Wieder­se­hen, Pet “Mag­nif­i­cent Sev­en”