The Pearl Fishers – Leeds Grand Theatre

Composer: Georges Bizet

Libretto: Michel Carré and Eugène Cormon

Conductor: Matthew Kofi Waldren

Director: Matthew Eberhardt

Opera North’s “concert performances” take on a life of their own. This version ofThe Pearl Fishers was originally billed as a concert performance – in which form it will tour after the Leeds run – but gradually it has gained dramatic detail, with added flourishes by Joanna Parker and Peter Mumford to Matthew Eberhardt’s economical production: a symbolic set which. with its tangled ropes and giant pearls, suggests the bottom of the ocean, video projections that create a similar effect, tenebrous lighting which enables figures to emerge and fade into the background. But, if not a concert performance, it stops short of being a full production; there are no dances and the chorus, clad in regulation concert attire, for the most part just sing – and do it magnificently.

Previous memories ofThe Pearl Fishers based on two productions in London and Leeds have not been the happiest. This, oddly enough, came closest to a successful production. The temptation is to decryThe Pearl Fishersas one magnificent number (the duet “Au fond du temple saint”, impeccably delivered here by Nico Darmanin and Quirijn de Lang) repeated over and over at each climactic moment. In fact the shading of the duet theme is beautifully done and there are other striking numbers: for instance, the last 10 or 15 minutes of Act 2, the chorus almost feral in its fury, Zurga (de Lang) tormented beyond endurance.

However, there is some truth in the criticism. Arias tend to lack the bite of contemporary Italian opera – or, indeed, ofCarmena dozen years later – and the libretto is, frankly, not one to inflame the passions or perch the audience on the edge of their seats. No doubt originally much exotic orientalism was deployed (to limited effect, apparently), but not much could be done with a libretto that Eugène Cormon later admitted they would have made more of if they had realised how good a composer Bizet was! As it is, Zurga is proclaimed King of the pearl fishing community which also has a high priest, Nourabad. Zurga’s boyhood friend, Nadir, appears (cue the famous duet). When a priestess, Leila, who must remain separate from other humans, is due to arrive to protect the fishers, it turns out that both Zurga and Nadir fell in love with her in the temple at Kandy – and we are on a course to possibly fatal consequences.

Bizet probably did as much with this as anyone could. The thunderous chorus climaxes, with dramatic brass accompaniment, are as telling as the subtle accompaniments with flute, clarinet and harp to the fore. Occasional exotic percussion makes its mark, too, and Matthew Kofi Waldren exploits the score’s lyrical qualities expertly.

Of the four principals Sophia Theodorides makes the major impact, her beautifully shaped upper register more than compensating for a less strong lower register. Quirijn de Lang’s rock-solid baritone is a known fact, as is James Creswell’s authoritative bass as Nourabad. Nico Darmanin sounds a touch pinched at times as Nadir, but conveys the anguish and passion perfectly.

Runs until June 2, 2023, then tours in concert form.