Opera Australia's The Pearl Fishers

http://www.sydneyartsguide.com.au/opera-australia-presents-the-pearl-fishers-joan-sutherland-auditorium/ my Sydney Arts Guide review This is a new production by Michael Gow and there have been some changes that make it an intriguing version. The music has been preserved as have the key plot ideas however the characters have been changed to provide them with more realistic and believable motivations. The opera is set in colonial Ceylon (now Sri Lanka) of the 1860’s. One can nitpick about aspects of this Opera- the rather hurried and sloppy libretto , and especially the dramatic structure of the plot- where most of the major events in the story happen off-stage, and the crucial turning point is at the start Act 2, which means there is not much plot development or action for the remainder of the other two acts. As well, much of the story revolves around the villagers’ Hinduism, yet Ceylon has been a mostly Buddhist nation for the last millennium. As well, the opera is set in the supposedly seaside city of Kandy, which is in reality in the centre of the island, not near the sea – but that is 19th century Romantic opera for you! Gow has worked with designer Robert Kemp in an attempt to create an authentic appearance of Ceylon, with crumbling temples and wonderful textures. It’s bright and vivid with most of the villagers wearing saris in deep oranges and yellows. Their costumes are enhanced by Matt Scott’s vividred and gold lighting. In Act 1 the set is dominated by a Hindu shrine, with the sea represented by a transparent plastic strip.Act 3 is set in Zurga’s office, a Chekhovian weather torn and dilapidated house in need of repair- the paint peeling off the walls, broken furniture huddled in the corner, some of the wooden slats damaged empty bottles lying around…Zurga’s messy desk… Gow’s work has changed the concept that this opera is a tale revolving around the conflicts of love, loyalty and piety set in a lush tropical locale. The two men in the love triangle have been altered to become European colonisers, greedily taking advantage of the villagers, sending them out on dangerous pearling expeditions while they reap the profits. Jose Carbo is a strong dramatic presence as Zurga, condescending to the island’s inhabitants, is in glorious form and baritone voice. He is the virtual king of the island, but has ‘gone troppo’, affected by the alcohol and the sun. When his supremacy is questioned by his long lost friend turned romantic rival Nadir, he goes a little mad. In Act 3 the first scene is almost entirely about Zurga’s inner conflict. The famous ‘Au fond du temple saint’ duet, sweepingly lyrical, that Jose Carbo sang with Pavol Breslik as Nadir in Act 1 was delivered beautifully and had the audience deeply moved with its exquisite beauty. Slovakian tenor Pavol Breslik portrays Nadir as a game hunter. Note the leopard/tiger skins in Act 1 and the deer heads in Act 3. Byronically handsome Breslik sings passionately and impressively, full of hypnotic lyricism. In Je crois entendre encore, the fiendishly difficult yet ravishing aria, his voice goes, at times, down to a melting whisper. Both men are in love with their vision of the exotic Leila. Léïla becomes an intriguing character in her travels from adored remote Woman to a real person. Nadir’s awkward eruption into and confession in the temple reminds us that it is dangerous, even lethal, for ‘outsider’ Westerners to break the religious vows and customs of others. Diva Ekaterina Siurina plays Leila and gives a dignified, warm and passionate reading of her character. Siurina’s voice has an ease and fluency with an attractive clarity and colour in every part of the range. Her character is strong, proud and true, graceful yet not cowering in any way under her many veils. Siurina handles all of Bizet’s difficult vocal runs well, revealing beautiful control and virtuoso technique. In her almost Tosca like showdown with Zurga towards the end she is transformed. She enters almost hesitantly to plead for Nadir’s life, but when she realizes Zurga’s jealousy and weakness, combined with his uncertainty, she fights back. One of the biggest changes in Gow’s production is that he turns the character of Nourabad, originally a high priest imposing severe religious law, into an uncaring exploitative, pretentiously religious European. Daniel Sumegi as Nourabad gave his character an edgy, brutish and forceful opportunism and sang with impressive firmness in his wonderful, resonant bass. Musically this was a sumptuous, superb production with the dynamic Guillaume Tourniaire thrillingly leading the Orchestra and the Opera Australia chorus in great voice. Running time 2 hours 30 minutes including one interval. Go on, treat yourself. Opera Australia’s fresh production of Bizet’s THE PEARLFISHERS is playing in rep various dates between January 15 and March 12 at the Joan Sutherland Auditorium, Sydney Opera House. Share this:Click to share on Twitter (Opens in new window)Share on Facebook (Opens in new window)Click to share on Google+ (Opens in new window)Click to email this to a friend (Opens in new window)