In France the taste for exoticism was all the rage when in 1863, after his stay in Italy with the scholarship awarded to him by the Prix de Rome, a new opera was proposed to Georges Bizet. People were hooked on travel and exotic places because they were regarded as a form of getaway from the moralistic constraints of the bourgeois society of the 19th century: nude odalisques in paintings and tales of depraved oriental satraps in books were admired. The Pearl Fishers' librettists told of a strange love triangle in which the tenor and the baritone, in love with the same woman, were bound by a tender friendship instead of being rivals.
Even before becoming a trait of the Second Empire style, the musical language of The Pearl Fishers made use of the melodic attractiveness of Italian operas in an odd combination in Bizet's work, which appealed to the public but not to the pundits. An initial run of 18 performances were enough to make this work successful and it disappeared from stage, only to reappear decades later when the work owed its new life to the country that had hosted the composer in his youth: in 1886 I pescatori di perle went on stage at La Scala in an Italian translation that was used not only in the other Italian theatres but everywhere, including Paris, where the work was staged in the Italian version during the 1889 World Fair.
On that occasion the ending was modified to a more tragic conclusion with Zurga stabbed to death, and this version is frequently staged. Not here in Turin though. For the opening of the new season at the Teatro Regio, which also includes Bizet's Carmen, the original version of Pearl Fishers was chosen in which Leïla and Nadir flee to safety with Zurga's help. The title on the posters is in Italian, perhaps a reminder of the debt paid by Bizet to Italian opera from which he assimilated some traits, such as the almost Bellinian vocal lines and the light orchestral accompaniment often assigned to a solo instrument. Ryan McAdams conducted a fluent rendition of the score, highlighting the mature orchestral writing achieved by the young composer. It is the use of the enthralling theme of the Friendship Duet on the words “Oui, c'est elle! | C'est la déesse plus charmante et plus belle !" – an idée fixe that will recur countless times in the course of the opera to bewitch the protagonists as a memory of the past – to make this work poignant, in spite of its incongruous libretto and the weak plot.
On stage an uneven cast found its peak in Hasmik Torosyan (Leïla), a bel canto soprano whose silvery timbre and flawless agility are well suited to a character that appear to be like Norma, the priestess who breaks her chastity vows, were it not for the much less tragic mood. There was a rather colourless performance from French tenor Kévin Amiel who for Nadir's aria “Je crois entendre encore” – brought to fame by voices like those of Enrico Caruso, Alain Vanzo, Beniamino Gigli, Alfredo Kraus or Nicolai Gedda – delivered a modest and reduced version, although using the mezza voce requested by the composer. Pierre Doyen, replacing Fabio Capitanucci as Zurga at the last minute, proved to be better. The French baritone has a bright timbre and he elegantly defined the nobility of spirit of the man who saves his friend from death and lets him run away with the woman he has always loved. With these two interpreters one heard impeccable French diction and not the rather loose one of the chorus. The quartet of performers was completed by Ugo Guagliardo's coarse Nourabad.
Julien Lubeck and Cécile Roussat's staging swayed between tackiness and naivety. After rejecting a directorial idea that could give greater depth and humanity to the characters, the two directors chose a decorativeness that seems taken from those old Christmas cards with sequins glued to the edges of the figures. Sinuous frames make up a diorama flooded with blue, red and gold light where two-dimensional characters act. The idea of using mime to recreate the pantomimes that were fashionable at Bizet's time clashes with modern taste and when Leïla's replica swirls around the two singers during one of the most beautiful operatic duets, you want to close your eyes. Birds, adequately glittered, are moved by mimes during Leïla's aria in Act 1 and the ubiquitous acrobatic dancers were rather annoying. A fair amount of applause welcomed the end of the show.
Torino apre la sua stagione operistica con illustrazioni naïf e glitterate
Quando in 1863, dopo il soggiorno in Italia con la borsa di studio assegnatagli dal Prix de Rome, a Georges Bizet venne proposta una nuova opera, in Francia dominava il gusto per l'esotismo. Il pubblico si appassionava ai viaggi e ai luoghi esotici perché rappresentavano una forma di evasione dai vincoli moralistici della società borghese dell'Ottocento: in pittura venivano ammirati il nudo delle odalische e in letteratura le vicende di depravati satrapi orientali. I librettisti de I pescatori di perle raccontavano di questo strano triangolo amoroso in cui il tenore e il baritono, innamorati della stessa donna, invece di essere rivali sono legati da una tenera amicizia.