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
