REVIEWS

Cantabrian Magazine | Opening Night Review | Isaac Theatre Royal, Christchurch

An exquisite soprano, a commanding baritone and a confronting final act made New Zealand Opera's The Pearl Fishers an evening that lingered long after the curtain fell.

An evening at the opera deserves a little ceremony. For Cantabrian Magazine, opening night began with nibs and drinks at Downstairs on New Regent Street, where the charm of Christchurch's heritage precinct sets the scene beautifully for a night at the Isaac Theatre Royal. There is something undeniably special about this part of the city when the arts are in full swing, and New Zealand Opera's latest production of Georges Bizet's The Pearl Fishers gave audiences plenty to anticipate.

Directed by Stephen Barlow, this contemporary interpretation transports Bizet's tale of love, loyalty and betrayal into the polished world of an exclusive luxury resort and jewellery house. Glamour meets ambition, with the apparent perfection of the surroundings gradually giving way to the darker realities of human desire.

Opening night brought an unexpected change to the principal cast. Sydney tenor Andrew Goodwin was called in at the last minute to perform Nadir, originally assigned to Filipe Manu. Goodwin, an accomplished international tenor who has previously performed the role, stepped into a production where the musical relationships between its principals are essential to the story's success.

Samuel Dundas was a commanding presence as Zurga, bringing a deep, resonant baritone and considerable dramatic authority to the stage. His performance in the celebrated duet Au fond du temple saint was particularly compelling, his rich vocal delivery capturing the strength and emotional conflict of a character torn between friendship, love and duty. Dundas gave Zurga a genuine sense of gravity, allowing his internal struggle to unfold with conviction.

Yet the evening belonged to Madison Nonoa.
As Leïla, Nonoa was exceptional. Her vocal control was nothing short of phenomenal, negotiating Bizet's demanding melodic passages and intricate vocal runs with remarkable precision and apparent ease. Her soprano carried a clarity and beauty that elevated every scene she inhabited. There was strength in her restraint, and an expressive quality that made even the most delicate phrases feel entirely intentional. Among a talented principal cast, Nonoa was unquestionably the vocal standout.

Visually, the production offered moments of exquisite theatrical glamour. Set and costume designer Yannis Thavoris delivered a particularly striking introduction for Leïla, whose elaborate millinery and intricate beaded costume created an almost golden goddess effect. The detailing was magnificent, presenting her as an ethereal figure within the production's carefully constructed world of luxury and ceremony. The chorus was also beautifully dressed, contributing to the visual richness of the opening acts.

As the story progressed, however, some of that sartorial appeal diminished. By the third act, the costuming felt considerably less accomplished, although the visual decline coincided with the increasingly desperate circumstances of the characters. Whether entirely intentional or not, the contrast was noticeable, and the production's earlier elegance was missed.

Musically, the Christchurch Symphony Orchestra was masterful under conductor Benjamin Bayl. 

Bizet's score is rich with emotion, and the orchestra gave it the depth and sensitivity it deserves. A particularly beautiful, exposed oboe passage offered a moment of extraordinary delicacy, while the robust voices of the Freemasons Foundation New Zealand Opera Chorus brought scale and dramatic intensity to the performance. Together, they demonstrated just how powerful live opera can be when orchestra and voice find their natural balance.

The final act was perhaps the production's most unsettling achievement.

Having encountered different interpretations of The Pearl Fishers over the years, this rendition's execution scene felt particularly confronting. 

Against the backdrop of recent world events, the staging carried an uncomfortable contemporary relevance. The audience was brought remarkably close to the emotional precipice between life and death. There was a palpable sense of injustice, the kind that leaves one instinctively wishing to intervene despite knowing the tragic inevitability of the story.

It was difficult viewing, precisely because it felt so wrong. That discomfort was also what made the scene effective. The distance between theatrical tragedy and the realities of the world beyond the stage suddenly felt very small.

Ultimately, New Zealand Opera has delivered a production that marries musical excellence with contemporary theatrical ambition. Not every design decision was equally persuasive, but the strength of the principal performances, the considerable contribution of the Christchurch Symphony Orchestra and the emotional weight of the concluding scenes made this a memorable opening night.

Above all, Madison Nonoa's Leïla was a triumph. Her exquisite vocal command alone made this production worth experiencing.

For Christchurch, it was another welcome reminder of the cultural calibre arriving on our stages, and of the importance of supporting the performing arts in a city increasingly confident in its cultural identity.

Cantabrian Magazine Rating: 8/10

The Pearl Fishers continues at the Isaac Theatre Royal on Friday 16 October at 7.30pm and Sunday 18 October at 2.30pm. Tickets and further information are available at nzopera.com.