When it was created for San Diego Opera (SDO) in 2004, Zandra Rhodes’ production of Georges Bizet’s “The Pearl Fishers” was so bizarre, so jaw-dropping, so colorful, that it overshadowed appreciation of the music. Now that director Andrew Sinclair, the physical production, and John Malashock’s choreography have been on the road to all points of the compass, including San Francisco and New York, we find a tighter piece, rife with dance, and this time cast with magnificent young singers who really act up a storm without making the opera more kitsch than it is. Suddenly, what’s bizarre seems surprisingly believable, even though still set against cutout polka-dot palm trees and “starry night” skies and famously magenta, orange and turquoise costumes.
This “Road” opera is set in ancient Ceylon (now Sri Lanka), so exotic that one would not be surprised to see Bing Crosby step from behind a palm to prevent the immolation of the lovers.
“Other” pertains to anything musical aside from the opera’s hit tune, “Au fond du temple saint,” which is the bonding duet for the returning Nadir and the village head honcho, Zurga. During this close-harmony melodic wonder, the men renew their former friendship, sundered when both fell in love with a virgin priestess named Leila.
Guess who shows up to pray for this season’s pearl fishing? None other than the heavily veiled Leila, who feels Nadir’s presence, and he hers. Nourabad, the village priest, admonishes Leila never to remove her veil; otherwise Brahma will punish the village. Disobedient, she removes it once she hits her retreat. Nadir shows up, they recognize each other, and a passionate love scene ensues, bringing down the wrath of Brahma, Nourabad and everyone else.
Tenor Charles Castronovo, who sang Nadir in San Francisco (he’s the bare-chested hunk in all the advertisements), makes his SDO debut. Sung with baritone Malcolm MacKenzie as Zurga, the ubiquitous duet is indeed thrilling, a great blend of voices. Its strains are repeated throughout the opera. The California-raised tenor, whose ancestry is Sicilian and Ecuadorean, has gorgeous tone quality, an expressive face and a brilliant, secure top and a baritonal middle.
A superb actor, he displays vocal and dramatic subtlety in his nuanced singing of “Je crois entendre encore,” as Nadir lies sleepless under the open sky, recalling his love for Leila.
The radiant Russian soprano Ekaterina Siurina, a real joy to behold and to hear and Castronovo’s real-life wife of three years, sing Leila. She is an excellent coloratura, possessing a thrilling pianissimo, displayed in her arias and duets with both Nadir and Zurga. Having trained at the Russian Academy of Theatre Arts in Moscow, Siurina moves like a dancer and uses her graceful arms and hands in reflection of Malashock’s choreography, which fills the opera with movement and color.
MacKenzie had a bit of vocal difficulty in early scenes opening night, but he grew steadily more effective starting in Act II. His Zurga excels in the violent and angry Act III in which Leila spurns him. All three principals are able to sing from any position that suits the action, a rare phenomenon. Jose Gallisa, basso stalwart most of the season, impressively sings the thankless role of Nourabad, whose major emotion is disgruntlement.
“The Pearl Fishers” is the melodically beautiful, exotic, first full-length work of a 24-year-old composer destined to write “Carmen” (scheduled at SDO in 2010). Under Sinclair’s seasoned direction, the SDO production is quite extraordinary to revisit, especially as so vividly conducted by Karen Keltner.
Two performances of “The Pearl Fishers” remain, at 8 p.m. Friday, May 9, and 2 p.m. Sunday. May 11. The production closes San Diego Opera’s 2008 season at the Civic Theatre, 202 C St. Visit www.sdopera.com or phone (619) 533-7000.
