Seattle opera pearl fishers review2/21/2023 ![]() ![]() Zurga (Christopher Feigum), unanimously appointed king, welcomes to his superstitious coastal village the return of his childhood buddy Nadir (William Burden) and, soon after, the arrival of a veiled foreigner who’s been selected to subdue stormy weather through the power of her celibate prayers. ![]() The plot hasn’t the thundering zing of, say, The Ring (what does?) but its people aren’t without their passions. “The voice is all about screaming-beautiful, controlled screaming though it is,” Lepage says, “and what they scream about has to deserve to be screamed.” That’s the problem with this production: Nothing deserves to be screamed-beautiful, controlled screaming though it is. Lepage talks to writer Thomas May in next month’s Seattle Met about, among other things, creating a world on stage in which operatic expression can believably exist. While watching opening night of Seattle Opera’s otherwise lovely The Pearl Fishers, I kept thinking of a quote from the brilliant Quebecois director Robert Lepage, whose double-bill staging of Bluebeard’s Castle and Erwartung comes to the opera here in February. ![]()
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