Presented by The State Opera of South Australia
Reviewed Sat 11th September 2010
Venue: Festival Theatre, Adelaide Festival Centre
Season: Tues 14th, Thurs 16th and Sat 18th September, 7:30PM
Duration: 2hrs 30mins incl two intervals
Tickets: Adults $50-160, Conc $45-140
Bookings: BASS 131 241 or http://www.bass.net.au
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.
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