Montreal's 'Pearl Fishers' delightfully sensual
|
|
Baritone Philip Addis is Zurga and soprano Karina Gauvin is Leïla in the Opéra de Montréal production of Bizet’s “The Pearl Fishers.” Photo by Yves Renaud |
Toolbox
By Jim Lowe Times Argus Staff - Published: November 4, 2008
MONTREAL – Georges Bizet's lesser-known opera, "The Pearl Fishers," has the kind of legend-based plot that has long had opera cynics laughing.
On the other hand, it is one of the most sensual and lyrical operas ever written.
And virtually every opera-lover – and a lot of others – knows its theme. "Au fond du temple saint," the tenor-baritone duet, is one of the most recognizable and beloved opera excerpts ever heard on public radio. And, although it is disappointingly very early in the first act, its melody permeates the entire opera.
Opéra de Montréal opened a particularly sensual and colorful production of "Les pêcheurs de perles (The Pearl Fishers)" on Saturday at Place des Arts' Salle Wilfrid-Pelletier. Although some of the staging was pretty silly, it looked and sounded wonderful.
The composer of "Carmen," certainly among the top-10 of operas, Georges Bizet was a master orchestrator and his seldom-performed 1863 "The Pearl Fishers" shows this in every moment. Would that the libretto had the same depth.
Set in 19th century Ceylon by Eugène Cormon and Michel Carré, the plot begins with the pearl fishers electing Zurga their leader. When Nadir returns to the village, he and Zurga reaffirm their friendship (in the famous duet). They recall how they almost came to blows after falling in love with the same priestess, though both failed to win her.
That priestess, Leïla, comes to the village to sing for the safety of the fisherman. While Zurga doesn't recognize her, Nadir does and goes to woo the object his love – a woman who has vowed chastity under penalty of death. The fun begins.
In the Opéra de Montréal production, at least at Saturday's opening night, the real star – vocally and theatrically – was baritone Phillip Addis as Zurga. Not only did he sing securely and expressively with a rich and convincing voice, his stage presence was a potent one. In fact, in many ways, Zurga is the hero of this opera.
Both of the lovers lacked Addis' stage or vocal presence. Soprano Karina Gauvin delivered some beautiful, sometimes brilliant singing, but wasn't always convincing. Conversely, tenor Antonio Figueroa was convincing, though it took a bit for him to warm up. But when he did, Figueroa sang with the beautiful soft-edged lyricism that makes French opera so sensual.
All three stars are Canadian and, despite their ethnic names, francophone. A French-Canadian friend pointed out to me that the French diction of all three was excellent. (I am certainly no judge of this.)
Frédéric Chaslin and the Orchestre Métropolitain du Grand Montréal also played a major role in the production's success, bringing out all of the score's colorful sensuality and lyricism. The chorus sounded great, and the dancers were a visual delight, as well as lots of fun.
The two-dimensional cartoon-like sets and brilliantly colorful costumes by British fashion designer Zandra Rhodes (created also for San Diego Opera and Michigan Opera Theatre) were provided a delightful explosion of brilliant color.
Stage direction by Andrew Sinclair and the Polynesian folk dance-based choreography of John Malashock weren't always dramatically effective – sometimes even silly – but certainly underscored the production's sensual beauty.
For anyone who loves "Au fond du temple saint," it is certainly worth seeing and hearing this Opéra de Montréal production to discover that it is the core of this work's sensual beauty.