OPERA: THE PEARLFISHERS

REVIEW BY IRINA DUNN

Bizet was only 24 when his fanciful work premiered in Paris in 1863, riding on the fashionable tide of European fascination with things exotic and oriental.
The story of a love triangle is a distant but evocative memory for Zurga, former governor of a French colony in India, whose reminiscences provide the narrative structure of this opera.
Zurga recalls his friendship with the young man Nadir and their mutual love for the beautiful virgin priestess Leila, who must swear an oath of obedience and chastity and pray continuously day and night for the safety of the pearl divers while they are at sea.
The two men part after swearing an oath of loyalty and allegiance to one another, and Nadir renounces his love for Leila. However, when the three meet again in a small village about to undertake a pearling expedition, Nadir and Leila rekindle their love and incur Zurga’s wrath, which almost leads to tragic consequences. The lovers escape and Zurga returns to Paris from his posting with bittersweet memories of his youthful sojourn in the East.
Michael Lewis is superb in the role of the aging and regretful Zurga, commanding the stage with a sombre dignity that belies the passionate heart of his character.
Henry Choo brings the wonderful richness of his tenor to his role as Nadir, and is a perfect foil to Michael Lewis in that wonderful duet Au fond du temple saint, in which tenor and baritone harmonise to sing their paeon to the goddess, a serenade no woman could resist.
Leanne Kenneally reprises Leila, the high priestess who is prepared to break her vows for love, with passion and grace, even from under the veil which masks her face, and Shane Lowrencev is a powerful presence as Nourabad, the high priest.
The musicality of this opera of memory and regret allows you to forgive Bizet the somewhat silly storyline and reminds you why you love the work. 

The Pearlfishers
Until October 11
Sydney Opera Theatre
Tickets: $67-$246, 9250 7777 OR www.sydneyoperahouse.com