Pearl Fishers - GlamAdelaide Review

This production, originally directed by Anne-Margret Pettersson for Opera Australia and with this revival directed by Luise Napier, takes the bold move of casting four suitably young performers in the solo roles and has a young South Australian conductor, Luke Dollman, making his debut with State Opera. This has resulted in a youthful exuberance and energy that makes this production more than usually believable and certainly makes it fresh and exciting.

From the first, beautifully controlled and emotionally charged notes of the overture there is a feeling of expectation that is quickly fulfilled. Dollman’s interpretation of Georges Bizet’s texturally rich and imaginative score, superbly realised by the Adelaide Symphony Orchestra, is a highlight of this excellent production. The work of the State Opera Chorus cannot be faulted and the dance routines, choreographed by Rosetta Cook, add to the exotic flavour of this opera, which is set in 1860s Ceylon. Added to this is the visual side of the production, with the most beautiful sets by John Conklin, costumes by Clare Mitchell and a marvellous lighting design by Nigel Levings.

Zurga, a bitter and lonely old man, has returned from the opera, reminded by what he has just seen of the past and of his love for his friend Nadir. His memories become the opera that we are about to see. The core of the story is the love triangle of the two friends, Zurga and Nadir, and the girl that came between them, Léïla. Nadir promised Zurga that he would never see Léïla again in order to save their friendship. The two meet again some time later and Zurga is elected leader of the pearl fishers.

Nourabad, the High Priest of Brahma, engages a virgin priestess to pray day and night for the pearl divers in their dangerous occupation. He warns her of the dire consequences of any failure on her part to remain chaste and obedient, and she accepts the responsibility. Although she is veiled Nadir recognises her voice as that of Léïla. He sneaks in to meet her that night and they declare their love for one another before being captured and sentenced to death.

Zurga at first tries to save his friend but, realising that the woman is Léïla he is both jealous and furious at Nadir’s betrayal, condemning them both to death. He then realises that Léïla, when she was a small child, was the one who had saved his life. He sets the camp alight, drawing off the villagers, and allows Nadir and Léïla to escape.



Soprano, Leanne Kenneally, and tenor, James Egglestone, make a fine pair of lovers as Léïla and Nadir. Their voices blend superbly and the emotional content of their performances is highly convincing. Baritone, Grant Doyle, as Zurga, offers an equally wide range of emotions in a third strong performance. The balance between the three excellent performances adds up to a very even production that works at every level. Bass, Pelham Andrews, is marvellously powerful and imposing in the role of Nourabad, perhaps not as large a role as the other three but just as important. This is a terrific line-up of soloists, one of the best we have seen from State Opera, and that is saying something!

This is a thoroughly absorbing and rewarding production that, if not already sold out, certainly deserves to be. If you can still get a ticket, do so as quickly as possible.

Reviewed by Barry Lenny, Arts Editor, Glam Adelaide.

Pearl Fishers - The Advertiser Review

LOVE is a very strange thing. It can strike like lightning. It can wound like a knife. It will mark you forever and, like a precious pearl, it is only gained though great risk. Dive for it; die for it. That is the challenge of this exquisitely beautiful production which will break your heart. The Pearl Fishers is handsomely cast, and sung in French so clearly you don't need the surtitles.

There is so much more to The Pearl Fishers than Australia's favourite duet, here given a beautiful rendering by James Egglestone and Grant Doyle, and once that's out of the way the true strength of the work becomes clear.

Ann-Margret Pettersson's original conception, lovingly restaged by Luise Napier, makes the opera a series of sad reminiscences inspired by an opera production, whose images appear throughout the evening. The idea reinforces the power of music and drama to touch our hearts. Made explicit in the action, though always there in the music, is the tragedy of Zurga who loses the man he loves to another woman and Grant Doyle's great monologue is delivered with compelling passion. Always a fine actor, he reaches a new stage of his career in this role.

The relative youth of the principal cast, two fine featured men and a strikingly attractive woman add to the dramatic impact of this tragedy of lost love. Their voices are young and bright and the attractions that they feel for each other are entirely convincing. If only at their first meeting, after so long a separation, Zurga had actually kissed Nadir instead of just giving him a big manhug. Leanne Kenneally, the priestess Leila, first appears veiled and posed like a statue framed in gold but descends to Earth as a woman in love, with a clear and expressive voice.

Egglestone's bright young tenor voice has a distinctive ring so suitable for French music and his delivery of the first act serenade is almost perfect. Pelham Andrews as Nourabad, almost entirely concealed behind extravagant facial hair, has developed greater depth and warmth in his voice since Girl of the Golden West, and completes the strong principal quartet with honour.

Timothy Sexton's chorus, both off stage and on, add their own part with conviction. Luke Dolman reins in the melodrama inherent in the score to focus attention on the underlying romance of Bizet's music; and the Adelaide Symphony Orchestra is as ever responsive.

The design team of John Conklin and Catherine Mitchell, sets and costumes, create an exotic series of visions, infused with magic through Nigel Levings' lighting score, and create a world of Sri Lankan beauty that entirely reflects the genius of Bizet.

Take a hanky. You'll probably need it. I did.

Ewart Shaw