Weekly Review Competition Winner: Alice Macfarlan, The Pearlfishers

In our first week of our ongoing review competition we received six entries from opera-goers in Melbourne as the 2011 Autumn season comes to a close.

Congratulations go to student Alice Macfarlan, whose review of The Pearlfishers on the website of Melbourne University's Farrago Magazine was selected as the most insightful of the bunch. Here's a copy of her review, you can also view the original here. Alice has now won two tickets to an opera of her choice for 2011!

Review: The Pearlfishers

Boy meets girl. Boy’s best friend meets girl. Both fall for girl, and both swear a vow to give up girl in order to save friendship. What a way to start an opera.

In real life this type of pact might survive for at least a week. In an opera, this is akin to a character in a horror film saying, “Don’t worry, we’re safe now.” It bodes no good, and when said girl reappears on the scene, she threatens not only this noble pact, but also the very fabric of the pearl fishers’ community in which it is set, sprouting more drama than you can shake a pearl at.

One audience member asked during an interval, “Are all operas about love?” What is interesting about The Pearlfishers, however, is that the operatic level of drama accompanying the “love” of the story is not simply there for stylistic purposes. Instead, every dramatic look, gesture and aria becomes part of a deeply woven tapestry exploring the relationship between artifice and truth, love and memory. It seemingly asks the audience, “Do you really believe in this? Should the characters really believe in this?”

It’s like this from the start, when a panel of artificial curtains is lifted to reveal a man lapsing into thought provoked by an opera he has just seen, the golden curtains of which are displayed in the background. We are then cast into his memories, on the island of the pearlfishers, a world in which the memories of the main protagonists drive almost every action. But with the repeated reminder of the golden opera arches popping up throughout the three acts, one cannot relax into taking everything at face value. This is an act, we are reminded, and these are only memories. But it is an enticing act to watch nonetheless as the storm of memories meeting life unfolds.

On a musical level, The Pearlfishers does its best. It is let down, not by the orchestra, but by the composition itself, which is not at the same level as others from Bizet, creator of such works as Carmen. It’s perfectly listenable, but it lacks the full emotional weight that one might have expected. Composer Ollivier-Philippe Cunéo’s interpretation certainly did the music as much justice as the score could afford, as did the vocalists who created some powerful musical moments, once they had warmed up after a first act which seemed as though it could have used 10 more minutes of pre-curtain vocal exercises. Henry Choo (playing Nadir) was a stand out on stage, with a rich and warm quality that was able to capture some emotionally stirring moments and really bring them home.

Although not Bizet’s best, it is rich, entertaining, and very well performed. The Pearlfishers is an opera that will surprise you, captivate you and most likely woo you, so long as you give it a go.

Congratulations again to Alice and I hope you enjoy whichever opera you choose!


Other reviews submitted were:

• @thetowncrier on The Pearlfishers: http://blogs.crikey.com.au/curtaincall/2011/05/15/review-the-pearlfishers-state-theatre-melbourne/
• @yelizsel on La boheme: http://www.upstart.net.au/2011/05/17/opera-review-%E2%80%93-la-boheme/
• Mario M Anders on The Mikado as a comment on our blog: http://blog.opera-australia.org.au/2011/05/officially-announcing-our-new-weekly.html
• @DanielADSwain reviewed The Mikado both on his Facebook and then published at Simply Syndicated (congrats!): http://www.simplysyndicated.com/opera-australia-does-the-mikado/

Click 'Read More' below to see the final submission, who was chosen as our runner up!  




Runner Up

In a somewhat unexpected move, our Director also chose to publish our runner-up, an email submission from Dennis Mitchell. The review is of The Mikado and is written to the tune of 'If Some Day it May Happen':

If some day it may happen that you have an evening free

Then here’s a tip from me, this show you ought to see

‘Cos if you like you’re G & S I’m sure you will agree

It’s just your cup of tea, and that’s a certainty

When Opera Australia does Mikado you can bet

That their production’s always bound to be the best one yet

Beginning with the overture they set a cracking pace

Brian Castles-Onion runs the show with style and grace

With every semi-quaver put precisely in its place

I really must insist, this show should not be missed

Yes I really must insist, this show should not be missed

This show should not be missed – this show should not be missed

The chorus were magnificent, they sang and danced with ease

An outfit bound to please, and awfully Japanese

Richard Alexander played the Mikado with panache

Warwick Fyfe as Pooh-Bah was susceptible to cash

Taryn Feibig, Lorina Gore and Dominica Matthews

Played three maids from school whom it would be hard to refuse

And Mitchell Butel’s Ko-Ko had a somewhat floppy wrist

While Kanen Breen played Nanki-Poo the tall contortionist

As Tish-Tush Samuel Dundas’s ovation was well-urned

And Jacqueline Dark’s Katish!! Well she really was a dish

I really must insist, this show should show not be missed

Yes I really must insist, this show should not be missed

This show should not be missed – this show should not be missed.

Thank you everyone for your marvellous reviews, and it's so fantastic to see a lot of first-timers giving their insights into our shows. This is the final week of The Mikado so with fewer shows on we're doubtful to get as many submissions, but we already have some in so the competition is on.

Thanks again to all our reviewers and the best of luck to our new ones for this week!

By Anna McDougall, Digital Marketing Officer