For all the exoticism in Lalla Roukh, there’s some local interest here: Félicien David’s opera is based on one of the most famous works of Thomas Moore, the celebrated Irish poet (and musician) who died 170 years ago this year. Opéra-comique in two acts
Libretto by Michel Carré and Hyppolyte Lucas
(after Thomas Moore’s poem Lalla Rookh)
Newly commissioned adaptation by Timothy Knapman
Sung in French with English surtitles
First performance: Opéra-Comique, Paris, 1862
Born in Dublin to a mother who came from Wexford, Moore enjoyed immediate success with his Irish Melodies — the source of such famous songs as The Minstrel Boy and The Last Rose of Summer — and his ‘Oriental romance’ Lalla Rookh increased that fame. Tapping into Romantic sensibilities and capitalising on the popularity of The Thousand and One Nights, it inspired several operas by composers as diverse as Gaspare Spontini and Anton Rubinstein, not to mention Charles Villiers Stanford’s first opera The Veiled Prophet of Khorassan, heard at Wexford in 2019. Further indicating its wide appeal to composers, there is also Schumann’s great choral-orchestral work Paradies und die Peri.
Even in this company, David’s work stands out for its delicate evocation of Kashmir and Samarkand. It has been praised for its ‘dreamy atmosphere and aromatic orchestration’. The hard-to-please Héctor Berlioz was quick to admire Lalla Roukh and it was almost instantly recognised as the composer’s masterpiece.
Wexford audiences will know David from his somewhat heavier Herculanum, staged at the festival in 2016 and dating from four years before Lalla Roukh. He enjoyed an unusual career, beginning with his apprenticeship as a young boy in the cathedral choir at Aix-en-Provence. Most of his creative work was done in Paris, but when it came to musical exoticism he knew what he was talking — or, rather, writing — about. Having joined the radical religious sect of the Saint-Simonians, when it was disbanded by the government he travelled with a group of friends preaching its gospel in the Ottoman lands and going as far as Egypt. His remarkable ode-symphonie Le Désert was an early musical manifestation of this, but Lalla Roukh is a more mature example of his talent for evoking the picturesque.
The beautiful young princess, Lalla-Roukh, is promised in marriage to the king of a far-off land, whom she has never met. She sets out with her guards and confidants to meet and marry the king at his summer palace, but Lalla-Roukh has a secret. She has already been serenaded by a mysterious young singer, Noureddin, and has fallen in love with him. When she meets him again, en route to meet the king, she must make a choice. What will Lalla-Roukh follow – her duty or her heart? When the moment of decision comes – and Lalla declares that she would rather live in a simple cottage with Noureddin than in a palace with the king – the young singer reveals that he too has a secret. The surprise he springs on Lalla takes her entirely unawares while also granting them both the happiest of happy endings.
Watch & Listen
Watch the RTÉ recording of Lalla-Roukh recorded at the National Opera House
An Introduction to Lalla-Roukh
An Introduction to Lalla-Roukh from Rosetta Cucchi, Artistic Director of Wexford Festival Opera 2022.