Written by
Georges Bizet, Libretto by Eugene Cormon and Michel Carre
Conducted by
Guillaume Tourniaire, Directed by Michael Gow, Designed by Robert Kemp,
Lighting
Design by Matt Scott, Presented by Opera Australia,
Joan
Sutherland Theatre, Sydney Opera House until March 12, 2016.
Reviewed by
Bill Stephens
Even though
it would be another ten years until he wrote his hit-packed opera, “Carmen”,
George Bizet’s early effort, “The Pearlfishers”, written when he was just 24,
provided Bizet with the opportunity to demonstrate that he was already a dab
hand at writing a good tune. Despite it’s seriously flawed libretto which pays
little attention to the realities of the exotic location in which it is set, and
into which Bizet had had no input, “The
Pearlfishers” nevertheless contains much beautiful music including a haunting duet
for two male singers which has become of the most popular operatic arias ever
written.
Set in colonial
Ceylon, now Sri Lanka, the storyline
concerns a close friendship between a pearl fisherman, Zurga, and his friend,
Nadir, which is threatened by their mutual infatuation for Leila, a young virgin
priestess. Both the men had heard Leila singing in a temple and fallen
for her. But to preserve their friendship, they make a pact to forget Leila and
go on with their lives.
However, it turns
out that Nadir has lied to Zurga. Sometime previously, he and Leila had spent
the night together, presumably singing arias. So when Leila, accompanied by the
high Priest, Nourabad, unexpectedly arrives in their village, it’s not too long
before she and Nadir arrange to meet in the temple where Nourabad has organised
her accommodation.
Predictably,
as he leaves the temple after visiting Leila, Nadir is captured by Nourabad,
and when Zurga finds out about their assignation he is so enraged that he
commands the villagers to kill them both.
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| Pavol Breslik (Nadir) Jose Carbo (Zurga) Photo: Keith Saunders |
Michael
Gow’s handsome, though rather stolid, new production of “The Pearlfishers”, keeps
this story intact except for one major change. The three male characters in the
story are now Europeans who are exploiting the locals. Zurga has become a pearl
dealer, his friend Nadir, an animal hunter, and Nourabad, a local profiteer. This
change certainly heightens the dramatic impact, but also adds its own illogicality’s.
However, instead
of dwelling on the flaws in the libretto, Gow has wisely opted to present the
story in a series of carefully
positioned, uncluttered stagings which insure that the singers are always in
the most vocally advantageous stage positions to allow the audience to focus on savouring the full beauty of Bizet’s
music.
This works
wonderfully, because with four exceptional singers in the principal roles, the
excellent Opera Australia Chorus, and the full resources of the Australian
Opera and Ballet Orchestra at his disposal, conductor Guillaume Tourniaire has
taken advantage of this approach to extract a finely nuanced and carefully detailed
reading of the score which reveals often surprising, unexpected colours and
dynamics, even in the most familiar arias.
The infamous
“ In the Depths of the Temple”, gets a gloriously passionate performance
from Jose Carbo (Zurga) and Slovakian
tenor Pavol Breslik (Nadir), both revelling in the opportunity to exploit their
unique vocal contributions and demonstrate why this duet has earned its place
in operatic history.
Carbo,
sporting a shaggy beard, gives a strongly sung performance as the gone-troppo,
slightly wild-eyed pearl dealer, Zurga. Making
his first appearances with Opera Australia, as the handsome young animal
hunter, Nadir, Breslik, also impressed
with his superb interpretation of another lovely aria, “I Hear as in a Dream”, which almost rivals “In
the Depths of the Temple” as an operatic ear-worm.
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| Ekterina Siurina (Leila) Photo: Keith Saunders |
As the
priestess, Leila, the object of their shared attentions, Russian soprano
Ekaterina Siurina, also makes an impressive Opera Australia debut. Her warm
stage presence and stunning creamy soprano voice are displayed to great
advantage in her dreamy solos and dramatic duets with both Zurga and Nadir.
Though
somewhat under-utilised as the villainous Nourabad, Daniel Sumegi nevertheless
made effective use of his great voice and commanding presence to complete an
outstanding quartet of principals.
However, despite
exceptional singing from the four excellent principals, it is the Opera
Australia chorus which steals the show. Costumed in glowing reds, browns and
yellows, and arranged in rows in Robert Kemps impressive decaying temples, it
rattles the rafters with superbly detailed harmonies, providing some of the
most memorable highlights of this remarkably satisfying production.
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| Daniel Sumegi (Zurga) and the Opera Australia Chorus Photo: Keith Saunders This review is also published in Australian Arts Review www.artsreview.com |