Review: Sarasota Opera brings Bizet's genius to the stage with 'The Pearl Fishers'

George Bizet’s “Carmen” is one of the most popular operas of all time with an unforgettable, vivid score. This weekend the Sarasota Opera opened its production of Bizet’s “other” opera, “Les Pêcheurs de perles” ("The Pearl Fishers") which is remarkable in its own way for sheer beauty. 

Set in a coastal fishing village in Ceylon (now Sri Lanka), it wasn’t just the pitch-perfect set design that captured this exotic locale. The score is otherworldly, with an often-hypnotic lyricism when well supported by the beauty of the leading voices. 

Nadir (tenor Andrew Surrena) arrives to find his old friend Zurga, the village king (baritone Kyle Oliver). Together they recount the story of their friendship and falling in love with the same woman. Both the music and words of this duet – “Au fond due Temple Saint” ("In the inner sanctum of the Holy Temple") – carry the kernels of the entire opera.

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Surrena makes an immediate impression with his big, bright voice and agility. Oliver matches him well, but with slightly less heft.  It is only in Act III that we are knocked out of our seats by his force and anger.  

Act I, however, is packed with expository action when temple virgin Léïla (soprano Hanna Brammer) and the commanding high priest Nourabad (bass-baritone David Weigel) arrive and Nadir sings his soliloquy about hearing his love’s voice, "Je crois entendre encore" ("I think I still hear").  Melodically mesmerizing and in the hands of a tenor of pleasing voice such as Surrena, this aria leaves the audience transfixed. 

Then we hear that maiden’s memorable voice. Even behind a veil, Brammer’s voice shimmers and glows as she prays "O Dieu Brahma," displaying flexibility throughout her range. 

The chorus of apprentice and studio artists as the villagers and fishermen play a substantial musical role in this opera from start to finish. Bizet uses them deftly and provides a sumptuous feast in the blend of voices singing both on and off stage and separated by male and female voices. The chorus in this production deserves billing as a lead role.

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However, it is Brammer’s lyric beauty that reigns supreme throughout the second act. In “J'étais encore enfant” ("I was still a child") – describing how she risked her life once for a fugitive – and "Comme autrefois dans la nuit sombre" ("Here I am alone in the night"), Brammer serves a consistent vocal splendor. Both alone and with Surrena, she is a convincing actress. Their love duet “Léïla, Léïla! Dieu puissant, le voilà!” ("Mighty God, there he is!") soars to the heavens.  

As the priest, Weigel does not have a major singing role, but his character’s sheer presence, defense of strict law, and deep voice carries a taste of menace. Rightly so, as death is in the cards for the two lovers. 

When Léïla begs for Nadir’s life in Act III, Brammer and Oliver portray the tight edge of their characters. Shifts between anger and compassion are made apparent not just through music, but in the body language Oliver conveys while Brammer’s fervent pleas fuel the situation With one effective gesture – sinking to the ground, head in hands – Oliver makes us feel his turn of heart at the end. 

Action and pacing throughout the opera are deftly managed by stage director Katherine M. Carter. There is a lot to wrangle, too, with the sizeable chorus. 

The set design by J. Michael Wingfield includes temple ruins, statuary, and a strikingly modern-looking tent for Zurga’s quarters.  

Lighting design by Ken Yunker provides things like a night sky with twinkling stars, a Milky Way, fierce storms, and a fire glow.  

Costumes by Howard Tsvi Kaplan for the villagers and two heroes are humble but well detailed. Only our temple virgin in an emerald gem tone sari stands out. 

Kudos to conductor Marcello Cormio and chorus master Lindsay Woodward for marshalling the supportive musical forces. Bizet’s orchestration of the score leans heavily on solos from English horn, oboe, flute, and harp, all perfectly placed. 

While "The Pearl Fishers" is not Carmen, you owe yourself the joy of hearing Bizet’s genius in the Sarasota Opera’s production of this gem of an opera.

'The Pearl Fishers'

Runs through March 19. Sarasota Opera, 61 N.Pineapple Ave., Sarasota. More information at sarasotaopera.org or 941-328-1300.