Clément Philibert Léo Delibes (French: [klemɑ̃ filibɛʁ leo dəlib]; 21 February 1836 – 16 January 1891) was a French Romantic composer, best known for his ballets and operas. His works include the ballets Coppélia (1870) and Sylvia (1876) and the opera Lakmé (1883), which includes the well-known "Flower Duet".
Born into a musical family, Delibes enrolled at France's foremost music academy, the Conservatoire de Paris, when he was twelve, studying under several professors including Adolphe Adam. After composing light comic opérettes in the 1850s and 1860s, while also serving as a church organist, Delibes achieved public recognition for his music for the ballet La Source in 1866. His later ballets Coppélia and Sylvia were key works in the development of modern ballet, giving the music much greater importance than previously. He composed a small number of mélodies, some of which are still performed frequently.
Delibes had several attempts at writing more serious operas, and achieved a considerable critical and commercial success in 1883 with Lakmé. In his later years he joined the faculty of the Conservatoire, teaching composition. He died at his home in Paris at the age of 54. Coppélia and Sylvia remain core works in the international ballet repertoire, and Lakmé is revived from time to time in opera houses.
Delibes was born in Saint-Germain-du-Val, now part of La Flèche (Sarthe), on 21 February 1836; his father worked for the French postal service and his mother was a talented amateur musician, the daughter of an opera singer and niece of the organist Édouard Batiste. Delibes was the couple's only child. His father died in 1847 and the family moved to Paris, where soon after his twelfth birthday Delibes was admitted to the Paris Conservatoire. He studied first with Antoine-Jules Tariot (music theory), and then with Félix Le Couppey (piano), François Benoist (organ), François Bazin (harmony) and, at eighteen, Adolphe Adam (composition).
As a boy, Delibes had an unusually fine singing voice; he was a chorister at the church of La Madeleine and sang in the première of Meyerbeer's Le prophète at the Paris Opéra in 1849. While still a student Delibes became organist of St. Pierre de Chaillot and accompanist at the Théâtre Lyrique. At the latter he took part in the preparation of most of the operas in the theatre's repertoire, including classics such as The Marriage of Figaro and Fidelio and new works such as Louis Clapisson's La Fanchonnette, Victor Massé's La Reine Topaze and Gounod's Faust. His biographer Hugh Macdonald writes that although Delibes remained a church organist until 1871 (he held several posts, the last of them at the church of Saint Jean-Saint François from 1862), he was "clearly drawn more to the theatre [and] found his métier at Hervé's highly successful Folies-Nouvelles".
In 1856 Delibes' first stage work was premiered at the Folies-Nouvelles: Deux sous de charbon (Two sous-worth of coal), a one-act comic piece to a libretto by Jules Moinaux, described as an "asphyxie lyrique". Over the next fourteen years he produced more comic operas, at an average rate of about one a year. Many were written for the Bouffes-Parisiens, the theatre run by Jacques Offenbach, including Deux vieilles gardes ("Two Old Guards"), Delibes's second opera, which enjoyed enormous success, attributable in Macdonald's view to the composer's gift for "witty melody and lightness of touch".
In addition to composing, Delibes earned a living as a critic (briefly in 1858); inspector of school music; and accompanist and later chorus master at the Opéra (from 1862 or 1863).. His appointment at the Opéra led to a new career as a composer of ballet music. In 1866 he was commissioned to compose two acts of La Source, the other two being written by Ludwig Minkus. In the view of the musicologist and critic Adolphe Jullien, Delibes "displayed such a wealth of melody as a composer of ballet music" that Minkus was "completely eclipsed". Delibes was immediately invited to compose a waltz-divertissement called Le Pas de Fleurs to be introduced into the ballet of his former teacher Adam, Le Corsaire, for a revival in 1867. The piece was later incorporated into Delibes' music for La Source when it was revived.
In 1869 Delibes composed his last opérette, La Cour du roi Pétaud, for the Variétés. The following year he came to wider public notice with his score for the ballet Coppélia, first performed at the Opéra in May 1870. It was an immediate success, and has remained among the most popular works in the classical ballet repertoire. The following year he resigned from the musical staff of the Opéra and devoted himself wholly to composition. In that year he married Léontine Estelle Denain.
Not wishing to be typecast as a ballet composer, Delibes next turned to mélodies. In 1872 he published a collection including the songs "Myrto", "Les Filles de Cadiz" and "Bonjour Suzon". In 1873 he produced at the Opéra-Comique a comic opera in three acts, Le Roi l'a dit (The King has Said It). Le Figaro thought the libretto weak, but praised Delibes' music: "his melodic vein, his impeccable taste, his scenic skill, his beautiful humour saved a work which, without him, would have gone unnoticed". The work was a success in Paris and in German opera houses, but did not establish itself in the international repertory. Its first performances in Britain (1894) and the US (2016) were by students of, respectively, the Royal College of Music and the Manhattan School of Music. Delibes returned to the Opéra in 1876, with a grand mythological ballet, Sylvia, which in Jullien's view confirmed Delibes' superiority in dance music. It was well received by the press and public. In 1877 Delibes was made a Chevalier de la Legion d'honneur.
Despite the success of his two ballets, Delibes was still anxious to write a serious vocal work, and composed a grand scena, La Mort d'Orphée (The Death of Orpheus), given at the Trocadéro Concerts in 1878 during the Exposition Universelle. He followed that with a serious opera, Jean de Nivelle, a medieval patriotic romance, premiered at the Opéra-Comique in 1880. Reviewers found the piece too episodic but praised the composer for "the rare and precise quality" of his melodies and "the delicate style in his writing" for the public. The Parisian critic for The Era considered it "the best opera, the one most likely to attain a world-wide popularity, since Bizet's ...Carmen", premiered five years previously. The piece ran for more than a hundred performances, and was revived in Paris in 1908 but has not (in 2020) been staged there since then.
In 1881 Delibes succeeded Napoléon Henri Reber as professor of composition at the Conservatoire, despite his own admission that he knew nothing of fugue and counterpoint. He took his duties with great seriousness. The music critic Charles Darcours recalled Delibes' concern for his students and his anxiety for them to succeed in France's most prestigious musical award, the Prix de Rome. In 1882 Delibes composed incidental music for a revival of Victor Hugo's play Le Roi s'amuse at the Comédie-Française, consisting of a suite of pastiche medieval dances for orchestra ("Six airs de danse dans le style ancien") and a song with mandolin accompaniment ("Quand Bourbon vit Marseille").
Delibes' opera Lakmé was premiered at the Opéra-Comique on 14 April 1883. Léon Carvalho, the manager, was not known for extravagance in his productions, but for this opera he surprised his audiences by the lavish staging. Macdonald writes:
Its success was lasting; the oriental colour, the superb part for the title role, a well-constructed libretto and the real charm of the music, all contributed to a work on which, with the ballets, Delibes' fame has rested.
Lakmé was quickly taken up by opera houses across Europe, and productions followed in London (1885) and New York (1886); reviews of the American production were highly enthusiastic; those of the British production were less so, but in both cities it prospered at the box-office.