View source for Léo Delibes

{{short description|French composer (1836–1891)}}
{{Redirect|Delibes|others with the surname|Delibes (surname)}}
{{Use dmy dates|date=February 2025}}
[[File:Léo-Delibes-1875.png|thumb|alt=Middle aged white man with short, dark hair and a bushy beard|Delibes in 1875]]

'''Clément Philibert Léo Delibes''' ({{IPA|fr|klemɑ̃ filibɛʁ leo dəlib|lang}}; 21 February 1836 &ndash; 16 January 1891) was a French [[Romantic music|Romantic]] composer, best known for his [[ballets]] and [[French opera|operas]]. His works include the ballets ''[[Coppélia]]'' (1870) and ''[[Sylvia (ballet)|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 (Saint-Léon)|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 [[mélodie]]s, 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.

==Life and career==

===Early years===

Delibes was born in Saint-Germain-du-Val, now part of [[La Flèche]] ([[Sarthe]]), on 21 February 1836;<ref>Curzon, p. 7</ref> 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]].<ref name=grove>Macdonald, Hugh. [https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-000000746 "Delibes, (Clément Philibert) Léo"], ''Grove Music Online'', Oxford University Press, 2001. Retrieved 12 January 2020</ref> 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]].<ref name=f>Darcours, Charles. "Léo Delibes", ''Le Figaro'', 17 January 1891, p. 1 (in French)</ref> He studied first with Antoine-Jules Tariot (music theory), and then with [[Félix Le Couppey]] (piano), [[François Benoist]] (organ), [[François Bazin (composer)|François Bazin]] (harmony) and, at eighteen, [[Adolphe Adam]] (composition).<ref name=f/><ref name=c9>Curzon, p. 9</ref>

As a boy, Delibes had an unusually fine singing voice;<ref name=f/> he was a chorister at the church of [[La Madeleine, Paris|La Madeleine]] and sang in the première of [[Giacomo Meyerbeer|Meyerbeer's]] ''[[Le prophète]]'' at the [[Paris Opéra]] in 1849.<ref name=c9/> While still a student Delibes became organist of {{Interlanguage link|St. Pierre de Chaillot|fr|3=Église Saint-Pierre-de-Chaillot}} and accompanist at the [[Théâtre Lyrique]].<ref name=grove/><ref name=c9/> 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 [[Charles Gounod|Gounod's]] ''[[Faust (opera)|Faust]]''.<ref name=f/>{{refn|Delibes made the piano reduction of the orchestra part for the vocal score of [[Charles Gounod|Gounod]]'s ''[[Faust (opera)|Faust]]'' in 1859.<ref>Giroud, p. 266</ref> A theory put forward in 1991 that Delibes wrote the ballet music for the opera when it was revised in 1869<ref>Johnson, E. "Gounod or Delibes? – authorship of the ballet music in Faust", ''Opera'', March 1991, p. 276</ref> has not been supported in subsequent studies of Gounod by Yves Bruley (2015) and Vincent Giroud (2019).<ref>Bruley, pp. 170–176; and Giroud, p. 270</ref>|group=n}} His biographer [[Hugh Macdonald (musicologist)|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 (composer)|Hervé]]'s highly successful [[Folies-Nouvelles]]".<ref name=grove/>

===Composer===

In 1856 Delibes' first stage work was premiered at the Folies-Nouvelles: ''Deux sous de charbon'' (Two [[Sou (coin)|sous-worth]] of coal), a one-act comic piece to a libretto by [[Jules Moinaux]], described as an "asphyxie lyrique".<ref>Curzon, p. 13</ref> 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".<ref name=grove/>
[[File:La-Source-Ballet.jpg|thumb|''[[La source (Saint-Léon)|La Source]]'', 1866]]
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).{{refn|The obituary in ''Le Figaro'' gives the earlier date; ''Grove's Dictionary of Music and Musicians'', the later.<ref name=f/><ref name=j687/>|group=n}}. 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 (Saint-Léon)|La Source]]'', the other two being written by [[Ludwig Minkus]].<ref name=f/> 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".<ref name=j687>Jullien, p. 687</ref> 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.<ref name=j687/> The piece was later incorporated into Delibes' music for ''La Source'' when it was revived.<ref>Grymes, James (2015). Notes to Hyperion CD CDA6796 {{oclc|904403063}}</ref>

In 1869 Delibes composed his last opérette, ''La Cour du roi Pétaud'', for the Variétés.<ref>Curzon, p. 88</ref> 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.<ref name=grove/> 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.<ref>Curzon, p. 118</ref>

Not wishing to be typecast as a ballet composer, Delibes next turned to ''[[mélodie]]s''.<ref name=j687/> In 1872 he published a collection including the songs "Myrto", "Les Filles de Cadiz" and "Bonjour Suzon".<ref>Johnson, p. 129; and Curzon, p. 53</ref> 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".<ref name=f/> 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]].<ref>"Le Roi l'a dit", ''The Era'', 15 December 1894, p. 7; and [https://www.operanews.com/Opera_News_Magazine/2016/6/In_Review/NEW_YORK_CITY__Le_Roi_l%E2%80%99a_dit.html "Le Roi l'a dit"], ''Opera News'', June 2016</ref> Delibes returned to the Opéra in 1876, with a grand mythological ballet, ''[[Sylvia (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]].<ref name=f/>

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 (1878)|Exposition Universelle]].<ref name=mw>"Leo Delibes", ''The Musical World'', 24 January 1891, pp. 69–70</ref> 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 (newspaper)|The Era]]'' considered it "the best opera, the one most likely to attain a world-wide popularity, since [[Georges Bizet|Bizet]]'s ...''[[Carmen]]''", premiered five years previously.<ref>"The Drama in Paris", ''The Era'', 14 March 1880, p. 7</ref>  The piece ran for more than a hundred performances,<ref name=f/> and was revived in Paris in 1908 but has not (in 2020) been staged there since then.<ref>Pottinger, Mark. [https://muse.jhu.edu/article/254844 "Léo Delibes, Jean de Nivelle: Dossier de presse parisienne"], ''Music and Letters'', August 2008, pp. 434–435 {{subscription required}}</ref>

===Later years===

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]].<ref name=grove/> 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]].<ref name=f/> 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").<ref>Curzon, pp. 175–176</ref>

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.<ref>"'Lakme' in Paris", ''The Era'', 21 April 1881, p. 7</ref> Macdonald writes:

{{blockquote|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.<ref name=grove/>}}

[[File:Paris 18e - Cimetière de Montmartre - Tombe de Léo Delibes.jpg|thumb|upright|Grave in the [[Cimetière de Montmartre]]]]
''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.<ref>"Lakmé at the Gaiety", ''The Musical World'', 13 June 1885, p. 364</ref><ref>"'Lakmé' in New York", ''The Orchestra Musical Review'', 27 March 1886, p. 620</ref>

Delibes' last years were financially comfortable and socially secure. In 1884 he was elected to the [[Institut de France]]. His last work, incomplete when he died, was another opera, ''[[Kassya (opera)|Kassya]]''. Delibes, who had been intermittently ill for some time, died at his home in Paris after a sudden collapse shortly before his 55th birthday. He was buried in the [[Cimetière de Montmartre]] in Paris.<ref name=f/>

==Music==
{{See also|List of compositions by Léo Delibes}}
In Macdonald's view, Delibes' early compositions are clearly influenced by and in the tradition of [[François-Adrien Boieldieu|Boieldieu]], [[Ferdinand Hérold|Hérold]] and Adam, Delibes' composition teacher at the Conservatoire, from whom he had the example of "a sparkling operetta style". Later, consciously seeking to move from light popular works into a more elevated genre, his works show the influence of [[Giacomo Meyerbeer|Meyerbeer]] and Gounod, as well as the slightly younger [[Georges Bizet|Bizet]] and [[Édouard Lalo|Lalo]]. Macdonald observes that in notices of Delibes' early music the same terms frequently recur: "wit, charm, elegance, grace, colour, lightness".<ref name=grove/> ''The Musical World'' said of him, "If not the greatest French composer of his day, Delibes was the most characteristically French, and it can hardly be said that in his own line he leaves any successor of equal excellence".<ref name=mw/>

===Opera===
''Le Roi l'a dit'' is a light opera in which "elaborate vocal ensembles and witty pastiche play a major part" (Macdonald). The more serious ''Jean de Nivelle'', one of the works showing the influence of Meyerbeer and Lalo, is generally weightier in tone, with some lapses into the composer's lighter style in such pieces as the Act III couplets, "Moi! j'aime le bruit de bataille".<ref name=grove/> The chorus "Nous sommes les reines d'un jour" in the Act I finale continually switches between {{music|time|2|4}} and {{music|time|3|4}} with what Macdonald calls "a [[Mode (music)|modal]] melody of striking originality".<ref name=grove/>

[[File:Lakmé-act-1.jpg|thumb|left|upright=1.5|''[[Lakmé]]'', Act I, 1883]]
''Lakmé'' – which ''[[Grove Dictionary of Music and Musicians|Grove's Dictionary of Music and Musicians]]'' ranks as Delibes' masterpiece, even above ''Coppelia'' and ''Sylvia'' – shows the influence of Bizet, with echoes of ''[[Carmen]]'' and ''[[Les pêcheurs de perles]]'' in the harmonic techniques and subtleties of orchestration.<ref name=grove/> The opera is sometimes seen as a vehicle for a star soprano,{{refn|Productions of ''Lakme'' in the late 19th- and early 20th-centuries were often mounted for stars including [[Luisa Tetrazzini]] and [[Lily Pons]].<ref>Holden, p. 212</ref><ref>"Revival of 'Lakmé'", ''The Musical Times'', July 1910, p. 445; and [https://www.nytimes.com/1942/12/18/archives/lily-pons-in-lakme-receives-many-curtain-calls-at-metropolitan-in.html "Lily Pons in 'Lakmé"], ''New York Times'', 18 December 1942</ref>|group=n}} but Macdonald writes that the two principal male characters, Nilakantha and Gérald, are strongly drawn, and the music is "melodic, picturesque and theatrically strong". Macdonald expresses reservations about the dramatic [[recitative]], which he finds tending to the conventional;<ref name=grove/> the work was originally conceived as an opéra-comique with spoken dialogue, and the recitatives were an afterthought.<ref>"Waifs", ''The Musical World'', 4 August 1883, p. 486</ref> ''Lakmé'' remains on the fringes of the operatic repertoire. It was produced at the Opéra-Comique in 1995, starring [[Natalie Dessay]],<ref>Stevens, David. [https://www.nytimes.com/1995/02/22/style/IHT-picturebook-lakme.html?searchResultPosition=2 "Picture Book Lakmé], ''New York Times'', 22 February 1995</ref><ref name=as>[https://www.lesarchivesduspectacle.net/?Parametre=Lakme&pbRechercher=  "Lakmé"], Les Archives du spectacle. Retrieved 14 January 2020</ref> but has not been staged by the [[Metropolitan Opera]] since 1947,<ref>[http://archives.metoperafamily.org/archives/frame.htm "Archives"], Metropolitan Opera House. Retrieved 14 January 2020</ref> or at the [[Royal Opera House]] since 1910.<ref>[http://www.rohcollections.org.uk/work.aspx?work=1134&row=4&letter=L& "Lakme"], Royal Opera House Performance Database. Retrieved 14 January 2020</ref> [[Operabase]] and Les Archives du spectacle record details of occasional productions in Europe and elsewhere.<ref name=as/><ref>[https://www.operabase.com/en "Lakmé"], Operabase. Retrieved 14 January 2020</ref> The work was staged by the [[Seattle Opera]] in 1967 with [[Joan Sutherland]] in the title role, and in 2000 with [[Harolyn Blackwell]],<ref>[https://www.seattleopera.org/search/?q=Lakm%c3%a9 "Lakmé"], Seattle Opera. Retrieved 14 January 2020</ref> and by the [[New York City Opera]] in 1984.<ref>Crutchfield, Will. [https://www.nytimes.com/1984/09/16/arts/is-it-time-once-more-for-lakme.html?searchResultPosition=4 Is it Time Once More for 'Lakme'?"], ''New York Times'' 16 September 1984</ref>

''Kassya'', complete except for the orchestration when Delibes died, was edited and orchestrated by [[Jules Massenet]], whose skilful work was praised by reviewers.<ref name=kassya/> It had its premiere two years after Delibes' death, and was respectfully received, but the general view was that it showed the composer's creative gifts in decline.<ref name=kassya>"The Drama in Paris", ''The Era'', 1 April 1893, p. 9; and Noël and Stoullig, p. 110–111</ref> It ran for twelve performances.<ref>Noël and Stoullig, p. 138</ref> Macdonald finds points to praise: the oriental inflections in the music, the vocal writing, and the "fine close to the first scene of Act 3, with snow falling on the deserted stage".<ref name=grove/>

===Ballet===
{{listen|filename=Delibes pizzi sylvia.ogg|title=Divertissement - Pizzicato|description=Divertissement - Pizzicato from ''Sylvia'' — 3081 KB|format=[[Ogg]]}}
[[Image:Sylviascore.gif|thumb|upright=1.38|The first few bars of Pizzicato from ''Sylvia'']]
Influenced by Adam, ''Coppélia'' makes extensive use of leitmotifs for character and mood, and contains some vivid musical scene-painting.<ref name=dc>Craine, Debra and Judith Mackrell. [https://www.oxfordreference.com/view/10.1093/acref/9780199563449.001.0001/acref-9780199563449-e-709 "Delibes, Clément Philibert Léo"], ''The Oxford Dictionary of Dance'', Oxford University Press, 2010. Retrieved 14 January 2020 {{subscription required}}</ref> Delibes greatly enlarged on Adam's modest use of leitmotifs: each leading character is accompanied by music that portrays him or her; [[Noël Goodwin]] describes them: "Swanilda in her entry waltz, bright and graceful; Dr. Coppélius in stiff, dry counterpoint, the canonic device ingeniously applied also to Coppélia, the doll he has created; Franz in two themes, each sharing the same melodic shape of the first four notes, but the second having a more sentimental feeling than the sprightly first theme".<ref name=ng>Goodwin, Noël. [https://www.oxfordreference.com/view/10.1093/acref/9780195173697.001.0001/acref-9780195173697-e-0480"Delibes, Léo"], ''The International Encyclopedia of Dance'', Oxford University Press, 2005. Retrieved 14 January 2020 {{subscription required}}</ref> Delibes made extensive use of characteristic national dances, including the [[bolero]], [[czardas]], [[jig]] and [[mazurka]], continually interspersed with waltz rhythms.<ref name=ng/>
In the opinion of several critics, the score of ''Sylvia'' surpasses that of ''Coppélia''.<ref name=dc/><ref name=ng/> [[Tchaikovsky]] was greatly impressed by it, calling ''Sylvia'':

{{blockquote|The first ballet in which the music constitutes not just the main, but the sole interest. What charm, what grace, what melodic, rhythmic and harmonic richness. I was ashamed. If I had known this music earlier, then of course I would not have written ''[[Swan Lake]]''.<ref>''Quoted'' in Bullock, p. 67</ref>}}

[[Carl Van Vechten]] shared Tchaikovsky's view that Delibes revolutionised ballet composition: "Before he began to compose his ballets, music for dancing, for the most part, consisted of tinkle-tinkle melodies with marked rhythm." In Van Vechten's view, Delibes revolutionised ballet music by introducing in his scores "a symphonic element, a wealth of graceful melody, and a richness of harmonic fibre, based, it is safe to hazard, on a healthy distaste for routine". Van Vechten considers Delibes' scores to be the forerunners of 20th-century ballets such as [[Claude Debussy|Debussy]]'s ''[[Jeux]]'', [[Maurice Ravel|Ravel]]'s ''[[Daphnis et Chloé]]'' and [[Igor Stravinsky|Stravinsky]]'s ''[[Petrushka (ballet)|Petrouchka]]''.<ref>{{Cite journal |jstor = 737861|title = Back to Delibes|last1 = Van Vechten|first1 = Carl|journal = The Musical Quarterly|volume = 8|issue = 4|pages = 605–610|year = 1922}}</ref>

After ''Sylvia'', Delibes's only composition for dance was a suite of six dances for the Comédie-française production of ''Le Roi s'amuse'',  The dances, in a pastiche of antique style, show a keen ear for the nuances of period character in Goodwin's view. They are not often played in concert and are more familiar in recordings.<ref name=ng/>

===Mélodies===

The pianist and musical scholar [[Graham Johnson (musician)|Graham Johnson]] quotes the musicologist Fritz Noske's view that Delibes' songs derive from the chansonnette, "lighter and more entertaining than the [[Romance (music)|romance]], and less susceptible to the German influence of the [[lied]]". In his songs, Delibes shares with Bizet "a natural feeling for the theatre, and an ability to spin local colour", as in his chanson espagnole "Les filles de Cadix". Of other early songs, Johnson describes "Eclogue" and "Bonjour, Suzon" as "charm[ing] us with their unpretentious gaiety and delicacy, as well as their economy of means". Some of the songs evoke the period style of the 16th century, such as "Avril", "Chanson de l'oiseleur" and "Myrto", the last of which is a pre-echo of mélodies by [[Gabriel Fauré]]. Johnson finds Delibes more suited to reflective than to passionate sentiments, and, in general, better in more of his earlier songs than his later. He brackets Delibes with his junior contemporary [[Reynaldo Hahn]] as songwriters – "charmers both [with] a similarly eighteenth-century idea of the role of music in refined society: the unashamed giving of pleasure".<ref>Johnson, pp. 129–130</ref>

==Notes, references and sources==

===Notes===

{{Reflist|group=n}}

===References===

{{Reflist}}

===Sources===

* {{cite book | last= Bruley | first= Yves | title= Charles Gounod| year= 2015| language=fr| location= Paris | publisher= Bleu nuit | isbn=978-2-35884-044-6 }}
* {{cite book | last= Bullock | first= Philip Ross | title= Pyotr Tchaikovsky| year= 2016 | location=London  | publisher = Reaktion | isbn=978-1-78023-701-5 }}
* {{cite book | last=Curzon | first=Henri de | title= Léo Delibes. Sa vie et ses oeures (1836-1892)| year= 1926| location= Paris | language = fr | publisher= Legouix | oclc= 1316090}}
* {{cite book | last=Giroud | first=Vincent | chapter= The Genesis, Transformations, Sources, and Style of Gounod's ''Faust''| editor1= Lorna Fitzsimmons| editor2= Charles McKnight|title=The Oxford Handbook of Faust in Music | year=2019 | location=New York | publisher= Oxford University Press | isbn=978-0-19-993518-5 }}
* {{cite book | last= Johnson | first= Graham | title= A French Song Companion| year= 2002| location= Oxford | publisher=Oxford University Press | oclc= 1036173270}}
* {{cite book | last=Jullien| first=Adolphe | chapter= Delibes, Clément Philibert Léo | title= Grove's Dictionary of Music and Musicians|editor=J. A. Fuller Maitland| year= 1916|edition=second| location=London | publisher= Macmillan| oclc= 277251162}}
* {{cite book | last= Noël | first= Édouard |author2= Edmond Stoullig |title= Les Annales du théâtre et de la musique, 1893 | year=1894 | location= Paris|language=fr| publisher= G. Charpentier | oclc= 777138181}}
{{EB1911 poster|Delibes, Clément Philibert Léo|Léo Delibes}}

==External links==
*[https://atom.lib.byu.edu/obps/search/?q=Léo+Delibes List of works by Delibes] at the Index to Opera and Ballet Sources Online
* {{IMSLP|id=Delibes%2C_L%C3%A9o|cname=Delibes}}
* {{ChoralWiki}}
* [https://web.archive.org/web/20050819112143/http://balletmet.org/Notes/Delibes.html Ballet Notes: "Léo Delibes"]
* [https://hdl.loc.gov/loc.music/eadmus.mu021002/ Leo Delibes Music Manuscripts] at the Library of Congress

{{Léo Delibes}}
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{{DEFAULTSORT:Delibes, Leo}}
[[Category:1836 births]]
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[[Category:19th-century French classical composers]]
[[Category:19th-century French male musicians]]
[[Category:Burials at Montmartre Cemetery]]
[[Category:Conservatoire de Paris alumni]]
[[Category:French ballet composers]]
[[Category:French opera composers]]
[[Category:French operetta composers]]
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[[Category:French male opera composers]]
[[Category:People from La Flèche]]
[[Category:Prix de Rome for composition]]
[[Category:Pupils of Adolphe Adam]]
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