own feelings but eventually gives in. Splendiano has lost. Music and orchestration Despite the lack of drama or strong characterisation in the libretto, Bizet managed to overcome those weaknesses with strongly evocative music. The offstage chorus evoking sunset over the Nile, the changing moods of Haroun, and Splendiano's witty couplets (the latter more traditional opéra comique fare) are evidence of Bizet's growing musical powers. In his portrayal of Djamileh, his music looks forward to Ravel rather than back to Gounod; indeed much of Bizet's harmony baffled contemporary Parisian critics. At the Vienna production, the critic Eduard Hanslick was particularly taken with the exotic L'Almée, danse et choeur. Orchestration 2 flutes (one doubling piccolo), 2 oboes (one doubling cor anglais), 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 3 trombones, timpani, percussion, harp, strings. On stage: piano and tambourine, harp. Recordings Bizet: Djamileh (Lucia Popp, Franco Bonisolli, Jean-Philippe Lafont; Conductor: Lamberto Gardelli - Munich Radio Orchestra) 1983. Label: Orfeo Bizet: Djamileh (Marie-Ange Todorovitch, Jean-Luc Maurette, François le Roux; Conductor: Jacques Mercier - l'Orchestre National d'Île de France) 1988 Label: RCA References Operas by Georges Bizet French-language operas Opéras comiques One-act operas 1872 operas Opera world premieres at the Opéra-Comique Operas set in ancient Egypt Operas based on works by Alfred de Musset