The Pearl Fishers

Written when Bizet was only 25, this opera was premiered in Paris in 1863, and is earlier than Carmen.  It ran initially for only 18 performances, yet it remains a favourite for many, doubtless due not only to the very famous duet, but to its musical intensity and passion. Set originally in ancient Ceylon, GOC has transplanted it to 1930s Bahrain, to quote the Director: ‘a moment suspended in time, just before the seismic shifts of globalisation and oil discovery forever altered the cultural and economic landscape. It is a place on the cusp.’ The notion of priestesses and temples in that part of the world was a little odd, however, but that did not distract from the power of the piece. It tells the story of two old friends Zurga and Nadir, their shared passion for the priestess Leila, their vow to stay away from her in order to protect their friendship, the power of love, of betrayal, hatred and forgiveness. Much drama here!

The beautifully designed programme with its stunning purple cover of sea, moon and tiny fishing boat, made interesting reading. Director and cast profiles, a good synopsis, rehearsal photos and a piece on Bizet, all helped us to enjoy and relive the performance. The comprehensive Director’s Note was fascinating in its detail, and very helpful.

Guildford Opera is so lucky to have Lewis Gaston as its long-term Musical Director, as are the people of Guildford, for he challenges both the company and its audiences with the pieces chosen to perform, no run of the mill stuff here. The 7-piece orchestra was superb, the soloists and chorus sublime, Gaston managed the balance of voices and instruments to perfection, which we have indeed become used to over the years.

Both lighting and sound were very effective throughout, greatly adding to the tremendous atmosphere in the church.

The costumes were interesting. The chorus wore rough tunics over trousers with sandals, and sported fascinating headgear, the occasional hat I think, with the others in plaited scarves in wide thick bands around their heads, in earthy colours. Very effective, I found.  Leila looked delightful, her outfit echoing the colours of a sunlit sea, with short sleeved top, long loosely falling skirt of Indian fabric, I would say, a long gossamer scarf draped beautifully around her, and a veil, which played its own role in the proceedings. Zurga was clad in a fine silk tunic of dark blue with an embossed pattern. When declared village leader, he was draped with an elaborately patterned shawl. Nourabad, the priest, wore a longer golden tunic with a striped silk gilet in gold and cream. Both wore fascinating neckwear, large gold half-moon shaped objects, very difficult to describe, but striking. Nadir, the huntsman, wore a dark olive shirt, trousers with braces, and a large belt from which hung a hunting horn and another leather piece of hunter’s kit.  A good deal of trouble was taken over the costumes – Guildford Opera realises how important they are for the audience’s appreciation of the piece.

Holy Trinity Church makes a fine setting for opera. Of course, the church furniture has to be disguised, and in fact this was very imaginatively achieved, and a fine set produced by draping fine textiles and carpets over the choir stalls and altar rail, hanging fishing nets and sailcloth above, and building a brick enclosure for the pulpit to represent the temple. All this was enhanced by crates, pots, baskets and other containers to represent the port paraphernalia – so much to look at. At one stage a small table and stool appeared. This was later used, together with all the crates and boxes and so on, to build the fire at which the traitorous lovers were to be burnt.

Once again, Director Valeria Perboni and Musical Director Lewis Gaston have pulled off a tour de force – so much passion, energy and fury, and superb musicality, what a privilege for the audiences of Guildford!

The work has no overture, it begins with the villagers preparing for the dive, singing of the dangers of the sea, praying for protection. Zurga is unanimously chosen as their leader, and is ceremoniously draped with the leader’s shawl. The noise of an arrival interrupts this ceremony, and Zurga is thrilled to be reunited with his old friend Nadir. They reminisce about the time they had both fallen for the charms of a priestess, yet had vowed to keep away from her for the sake of their friendship. This of course was the beautiful and haunting famous duet: ‘At the back of the holy temple.’ Simon Wilson as Zurga and Matt Connolly as Nadir entranced us with their singing as they had once been entranced by the priestess. This haunting melody, if I remember correctly, is echoed as snatches every so often throughout the piece, and finally reappears transformed in the finale.

A boat arrives, carrying the veiled priestess who is to pray in the temple for the protection of the fishermen at sea. Of course, it is the aforementioned lady, Leila, who is to pray in the temple for the protection of the fishermen at sea.  Zurga does not recognise her, nor she him, but Nadir and she do recognise each other, for Nadir had previously broken the vow he had made to Zurga and become close to her. Nadir sings wanly of his love, his betrayal of his vow, and regrets not having told the truth. The emotional turmoil causes him to fall asleep. An intense and marvellous few minutes from Matt Connolly, as he wistfully remembers past times.

Nourabad the priest, played in sonorous voice and with appropriate dignity by Richard Gun Cuninghame, leads Leila to the temple where she can sleep. Fearful of being alone, she is reassured by the priest. He reminds her to keep her vows. She tells of a previous vow she kept to a fugitive she protected from a murderous crowd, and how he had given her a chain to wear round her neck in remembrance of him.

The lovers are reunited, and a glorious duet ensues. Leila fears for Nadir, though, but he thinks only of his love. They are discovered by the priest. A storm begins, which for the villagers is considered to be a dreadful omen.

As Nourabad announces the priestess’s broken vows, and arrests the lovers, the villagers’ fury knows no bounds. Here the chorus excelled themselves, rushing about, threatening, gesticulating wildly, forcefully interpreting the music. One of the finest dramatic and musical moments I’ve enjoyed in quite a while, I won’t forget it. It was positively frightening.

When the priest tears off Leila’s veil, Zurga finally recognises her, and realises Nadir has broken his vow, and Leila hers. He condemns them to death. Simon Wilson can do fury very well indeed! The storm intensifies.

Zurga expresses great regret very tenderly at the loss of his long-standing friendship. Another wonderful Wilson moment.

Anna Goodhew gave a masterful performance as she pled for Nadir’s life: ‘Grant me his life and so help me to die’. An exceedingly dramatic scene this as Zurga realises the extent of Leila’s ardour, and his own lack of love. Such fearful sweetness from her, such fiery passion, jealousy and then sadness from him. Leila gives Nourabad the priest her chain to pass on to her mother, and only then does Zurga, as he feverishly snatches the chain, realise that Leila is the girl who saved his life.

The villagers prepare the fire for the ritual deaths of the couple at dawn. The village is on fire, Zurga tells them.  They flee to deal with that catastrophe. Zurga releases the couple and explains he had set the fire in order to save them, he reveals the reason why, the lovers flee.

The lovers sing of their happy future, with the return of the stunning duet melody of Zurga and Nadir. Zurga falls to the ground in sheer grief, once again such an emotional moment from Simon Wilson.

An enchanting evening of sheet passion, fury, emotion and sadness.

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