Top Notes 
Aldehydes
Citrus notes
Heart Notes 
Lily of the valley
Peach
Magnolia
Rose
Base Notes 
Frankincense
Benzoin
Cashmere wood
Cypriol
Musk
Sandalwood
Vanilla
Ambergris
Iris
Labdanum
Pink pepper
Oud
Serenissima
1224 Reviews
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Serenissima
Very helpful Review
9
again with Roja Dove in the opera (with the usual three acts)
“Lakmé” - a new Roja fragrance for my curious nose; of course, I had to test it right away.
And once again, it is a commission for the Royal Opera House Muscat in Oman, for which Roja Dove transformed the music from a classical opera into scent.
This time it was Léo Delibes’ “Lakmé”; who doesn’t immediately hear the floating sound of the “Flower Duet”?
The idea of filling the entire audience area with this fragrance at the beginning of this enchanting piece of music, so that rose and iris aromas accompany these tones, is already fascinating.
“Sous le dôme épais
Où le blanc jasmin
À la rose s’assemble
Sur la riev en fleurs.”
Not exactly matching the text, but I don’t want to be too precise.
Whose idea was this? Was it once again “the master” himself?
(However, there’s also the question of how this Roja fragrance experience matched the scent garments of the audience: This idea confuses me a bit.
Or was the audience asked to appear “sans parfum” or “fragrance free” to avoid a scent chaos?)
It is said to have been the Eau de Parfum concentration that accompanied this “earworm” from Delibes in floral splendor.
This is in the small spray bottle left to me: So off to Oman to the opera!
First, I have to get my bearings: Since I am used to perfumes or extraits with Roja fragrances, this concentration seems a bit light at first!
But when I think of the music, of the floating tones of the “Flower Duet,” I realize:
Everything is as it should be!
Too much of this fragrance would overwhelm that enchanting, floating sound.
It is a true Roja composition, as genuine as the already mentioned duet bears the signature of Léo Delibes.
It deviates slightly in the heart note from the expected “Roja-nade” (or whatever we want to call the Guerlinade-like scent structure); the iris is successfully shifted to the base and contributes to a special fragrance experience from there; jasmine is completely absent this time.
But first, Hesperid notes shine in the usual accompaniment of aldehydes:
A citrus-fresh fireworks greets, awakens interest, and already makes one smile for the first time.
These fragrance notes envelop and prepare for a rather astonishing heart of scent.
But I miss the iris and jasmine mentioned in the context here!
So the white-flowered power comes solely from the small, brave lily of the valley: sweet and herbaceous at the same time, intensely fragrant and always slightly on the verge of becoming “stinky.”
This is what the little bell has in common with its partner jasmine: When they become truly ripe, the resulting scent drives many noses away: Both run the risk of becoming “little stinkers”!
Well, I love them in this state - but that’s just a side note.
Lily of the valley does not disappoint, rather hums than sings loudly, but clearly shows presence and harmonizes exceptionally well with the noble nuances of the fine roses, and thus the ripe, velvety sweet and juicy peaches find themselves in the best floral company!
A resinous-woody base spreads out; now the master swims again in familiar fragrant waters.
The mixture is exquisite, consisting of the usual suspects:
Labdanum and benzoin, frankincense and amber stand alongside musk, providing aromatic smoky impressions, the animalic quality of sandalwood unites, as often, with the rich, warm sensuality of vanilla, but is still - don’t forget: We are in the Orient! - topped with ripe, dark oud!
While oud is not entirely unexpected in the base composition of a Roja gem, the proud iris as a powdery finishing note surprises now (as already mentioned)!
The transition from the previous floral, woody-resinous fragrance creation to the rich powder scent is successful!
“Lakmé” is an interesting fragrance composition, and the recurring “Flower Duet” in the background further emphasizes this effect.
But the two of us will not meet again in the future; experiencing a fragrant performance was impressive, but it does not leave the impression I am used to.
Is it just the concentration; is the Eau de Parfum too light for me?
Perhaps I also need to learn to understand that the floating lightness of Delibes’ “Flower Duet” is also reflected in this Roja fragrance composition and that is why I miss the usual opulent depth.
And once again, it is a commission for the Royal Opera House Muscat in Oman, for which Roja Dove transformed the music from a classical opera into scent.
This time it was Léo Delibes’ “Lakmé”; who doesn’t immediately hear the floating sound of the “Flower Duet”?
The idea of filling the entire audience area with this fragrance at the beginning of this enchanting piece of music, so that rose and iris aromas accompany these tones, is already fascinating.
“Sous le dôme épais
Où le blanc jasmin
À la rose s’assemble
Sur la riev en fleurs.”
Not exactly matching the text, but I don’t want to be too precise.
Whose idea was this? Was it once again “the master” himself?
(However, there’s also the question of how this Roja fragrance experience matched the scent garments of the audience: This idea confuses me a bit.
Or was the audience asked to appear “sans parfum” or “fragrance free” to avoid a scent chaos?)
It is said to have been the Eau de Parfum concentration that accompanied this “earworm” from Delibes in floral splendor.
This is in the small spray bottle left to me: So off to Oman to the opera!
First, I have to get my bearings: Since I am used to perfumes or extraits with Roja fragrances, this concentration seems a bit light at first!
But when I think of the music, of the floating tones of the “Flower Duet,” I realize:
Everything is as it should be!
Too much of this fragrance would overwhelm that enchanting, floating sound.
It is a true Roja composition, as genuine as the already mentioned duet bears the signature of Léo Delibes.
It deviates slightly in the heart note from the expected “Roja-nade” (or whatever we want to call the Guerlinade-like scent structure); the iris is successfully shifted to the base and contributes to a special fragrance experience from there; jasmine is completely absent this time.
But first, Hesperid notes shine in the usual accompaniment of aldehydes:
A citrus-fresh fireworks greets, awakens interest, and already makes one smile for the first time.
These fragrance notes envelop and prepare for a rather astonishing heart of scent.
But I miss the iris and jasmine mentioned in the context here!
So the white-flowered power comes solely from the small, brave lily of the valley: sweet and herbaceous at the same time, intensely fragrant and always slightly on the verge of becoming “stinky.”
This is what the little bell has in common with its partner jasmine: When they become truly ripe, the resulting scent drives many noses away: Both run the risk of becoming “little stinkers”!
Well, I love them in this state - but that’s just a side note.
Lily of the valley does not disappoint, rather hums than sings loudly, but clearly shows presence and harmonizes exceptionally well with the noble nuances of the fine roses, and thus the ripe, velvety sweet and juicy peaches find themselves in the best floral company!
A resinous-woody base spreads out; now the master swims again in familiar fragrant waters.
The mixture is exquisite, consisting of the usual suspects:
Labdanum and benzoin, frankincense and amber stand alongside musk, providing aromatic smoky impressions, the animalic quality of sandalwood unites, as often, with the rich, warm sensuality of vanilla, but is still - don’t forget: We are in the Orient! - topped with ripe, dark oud!
While oud is not entirely unexpected in the base composition of a Roja gem, the proud iris as a powdery finishing note surprises now (as already mentioned)!
The transition from the previous floral, woody-resinous fragrance creation to the rich powder scent is successful!
“Lakmé” is an interesting fragrance composition, and the recurring “Flower Duet” in the background further emphasizes this effect.
But the two of us will not meet again in the future; experiencing a fragrant performance was impressive, but it does not leave the impression I am used to.
Is it just the concentration; is the Eau de Parfum too light for me?
Perhaps I also need to learn to understand that the floating lightness of Delibes’ “Flower Duet” is also reflected in this Roja fragrance composition and that is why I miss the usual opulent depth.
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