Light and shade under open skies: exquisite opera at the Bowl

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This was published 2 years ago

Light and shade under open skies: exquisite opera at the Bowl

By Madeline Roycroft

OPERA

The Pearl Fishers
Victorian Opera, Sidney Myer Music Bowl, April 22

Kathryn Radcliffe and Stephen Marsh in The Pearl Fishers.

Kathryn Radcliffe and Stephen Marsh in The Pearl Fishers. Credit: Charlie Kinross

Although a logical choice for classical music in our ‘new normal’, outdoor opera is still a rarity in Melbourne. The format has a rich history in Europe, and Sydney’s harbourside productions have been a staple for some years.

Victorian Opera’s semi-staging of Bizet’s The Pearl Fishers gave Melburnians a modest but enjoyable evening in the open air of the Sidney Myer Music Bowl, where evening chills and the threat of rain transported the audience to the shores of Ceylon.

Bizet was only 24 when he wrote The Pearl Fishers. After limited success during its initial run, the opera did not enter the international repertory until the mid-20th century. But aspects that historically detracted from its success actually make the work ideal for outdoor performance. Amplified sound, open skies and minimal staging help us overlook both the unevenness of Bizet’s score and Carre and Cormon’s libretto, which famously lacks substance.

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In performance, VO’s cast is unanimously superb. Soprano Kathryn Radcliffe shines as the priestess Leila, and each commanding entrance of Teddy Tahu Rhodes as high-priest Nourabad puts a stop to the chatter of the crowd.

As Nadir and Zurga, tenor Carlos E. Barcenas and baritone Stephen Marsh do justice to the beloved first-act aria Au fond du temple saint, skilfully conveying the theme of brotherhood (with a touch of homoeroticism) that permeates the remaining two acts.

Barcenas further captivates in the sorrowful Je crois entendre encore, with a masterful cor anglais solo from Dafydd Camp complementing the clarity and strength of Barcenas’ topmost notes.

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The chorus’s evocations of the stormy seashore and impending (but unrealised) double execution in the finale were also appreciated. Under Richard Mills, Orchestra Victoria found shade and light in Bizet’s score. Winds, horns, and concertmaster Sulki Yu performed exquisite solos throughout.

If limited staging focuses our attention entirely on the music, that is hardly something to complain about.

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