SEATTLE — “The Pearl Fishers,” a tragic opera in three acts set in ancient Ceylon, came early in Georges Bizet’s short composing life. It never achieved the super-nova status of “Carmen,” but “Pearl Fishers” boasts a beautiful score of sweet, haunting melodies, robust choruses and elegant singing for duets, trios and ensembles.
All these things, plus its exotic setting in contrast to our endless Northwest winter, were on full display in Seattle Opera’s opening night production on Saturday.
“Pearl Fishers” is the story of two childhood friends, Zurga and Nadir, whose friendship was once threatened when they fell in love with the same woman, Leila. Years later, the men are reunited in the fishing village where Zurga is king. They rejoice, and pledge their friendship in the famous friendship duet, a melody that will occur again as their story unfolds.
Leila, now a priestess, arrives to bless the divers, and Nadir recognizes her. They meet, which is forbidden, and the high priest Nourabad discovers and condemns them to death. Zurga can pardon the lovers, but won’t. But in one of those high-drama moments that happens in opera, he sets fire to the village to distract the villagers and allows the lovers to escape. For this he pays with his life.
The opera sports one big calling card — the eternally popular tenor-baritone duet in the first act — and for some that moment is half the opera. But keep your seats, because Bizet delivers a full evening of romantic music in this French gem. Seattle’s opening-night performance loosened up and, by turns, heated up, as the performance unfolded.
The sets, from Philadelphia Opera, have a generic quality, adequate but not up to the high standards of Seattle Opera, although some of the special effects staged behind a sheer curtain are diverting. The lackluster costumes didn’t add much punch, but the lighting helped establish the atmosphere except for a tendency to overlight the principals and wash out skin tones.
The staging, which builds the narrative with a tension-release framework, is thoughtful and drives the narrative skillfully. It’s the work of new-to-Seattle director Kay Walker Castaldo, who likes to keep things moving. The scenes where the ecstatic villagers writhe at the feet of the priestess are exciting in an old-Hollywood epic movie way.
A hallmark of French opera is dance, and here is a production where it works, adding to our enjoyment of the show with its explosive athleticism (think moves of the gymnast) and verve. Kudos to choreographer Peggy Hickey and the talented dancers. The Seattle Opera Chorus does its customary fine work and conductor Gerard Schwartz and the orchestra come through with flying colors.
Seattle Opera assembled an attractive opening-night cast in the principal roles. Lyric tenor William Burden sang the part of Nadir with a long, clean line, ease and dramatic passion. He holds aloft the softest passages, a testament to his extraordinary breath control.
Baritone Christopher Feigum, singing the role of Zurga, was Burden’s match vocally and dramatically, their voices smoothly blending in harmony in their famous duet and throughout the performance.
Soprano Mary Dunleavy, making her Seattle Opera debut, sang the role of Leila with no-holds-barred commitment and a sexy, dramatic presence. She’s lovely with a shapely figure and a big, full voice to match. The veil that covered half her face from time to time was a distraction, and seemed odd considering her revealing costumes.
Bass-baritone Patrick Carifizzi brought true menace and a beautiful voice to the role of Nourabad.
Talk to us
> Give us your news tips.
> Send us a letter to the editor.
> More Herald contact information.
