New Zealand Opera’s Pearl Fishers a bold, dramatic reimagining – William Dart
What: The Pearl Fishers
Where: Kiri Te Kanawa Theatre
When: Wednesday
Reviewer: William Dart
In the publicity for The Pearl Fishers, New Zealand Opera describes Bizet’s work as an early masterpiece from the composer of Carmen.
A masterpiece it is not, I’m afraid, but this bold staging by Australian director Stephen Barlow offers a lively and provocative night at the theatre.
In 2026, there are none of the ruined temples and forbidding Oriental statues that graced this company’s 2002 production of the opera.
Ancient religion has been replaced by present-day corporate zeal, with the action set in a luxury resort titled The White Pearl. The occasion? A “Brand Awareness Retreat” for the successful jewellery house of Pecheur & Perle.
From the opening chorus, there is a delicious irony in having music once sung by courageous pearl divers, who really did dare death in the water, cynically delivered over champagne glasses.
Barlow’s conception has inspired sleek and stylish designs from Yannis Thavoris, and Jake Wiltshire’s lighting creates luscious images that could well have sprung from a Harper’s Bazaar photo shoot.
Madison Nonoa’s Leila, no longer a virgin priestess but a mysterious celebrity singer and brand ambassador, makes a stunning entrance to the opera’s celebrated duet theme (with a few extra bars).
Her first aria, Oh Dieu Brahma, is touchingly vulnerable with fluttering coloratura, a convincing argument for the musical rewards of Bizet’s score.
Filipe Manu’s light tenor serves him well as Nadir, making a strong impression with his Je crois entendre encore, sensitively accompanied by Auckland Philharmonia under Benjamin Bayl.
Throughout the evening, these musicians relish Bizet’s often piquant colourings, highlighted in this new edition of the score by NZ Opera’s general director, Brad Cohen.
Australian baritone Samuel Dundas, taking on a debut role at short notice, is a suitably troubled Zurga, singing fervently with Manu on the duet that the audience had been waiting for.
The third act, set in the more claustrophobic surrounds of a bathroom, sees Dundas soul-searching in a tub, donning a towel to earn himself barihunk status, and a bathrobe for some powerful interchanges with an anguished Nonoa.
A strong-voiced Anthony Robin Schneider as head of security Nourabad (a high priest in the original) makes an impact as memorable dramatically as it is vocally.
With two more performances tonight and Sunday, this is not to be missed.