Soprano Mary Dunleavy allows it is something of an oddity she has performed so often in an opera as sporadically produced in the modern repertoire as Georges Bizet's "The Pearl Fishers." The American opera singer, who makes her Seattle Opera debut in Bizet's opera on Jan. 10 as the priestess Leïla, has also sung the role in New York, Philadelphia and St. Louis.
Despite its infrequent productions, "The Pearl Fishers" is the only Bizet opera besides "Carmen" that is regularly performed and recorded. In this exotically atmospheric work set on the island of Sri Lanka, Dunleavy's character is a beautiful priestess with a secret caught between two brawny pearl fishermen in a love triangle that endangers friendship, honor and life itself.
While the score of "The Pearl Fishers" is redolent with gorgeous melodies and warm sensuality, including one of opera's most renowned baritone/tenor duets, it presents its own obstacles.
"The music is very beautiful, very singable, very lyric," Dunleavy said. "But it is challenging for some American singers to find the French style, which has a different timing and phrasing. It's a very individual style and you can't sing it like Italian or German music."
Although Dunleavy is new to Seattle Opera, the company's production of "The Pearl Fishers" will be a sort of homecoming for her. Dunleavy and Seattle favorite William Burden-as Leïla's lover, Nadir, at Seattle Opera-have worked together several times and are reprising the roles they performed at the Opera Company of Philadelphia. Also debuting in Seattle is Kay Walker Castaldo, director of the Philadelphia production, which The Philadelphia Inquirer said "sizzles with sensuality."
Even the sets and costumes are from Philadelphia, although Dunleavy ruefully noted that the birth of her daughter four months ago would require modifications to Leïla's previously midriff-baring outfit.
"My costume will still definitely be sexy, but I won't be doing a Britney Spears."
Dunleavy is pleased to be working again with Castaldo.
"Kay and I have a good rapport. We created the character of Leïla together in a way."
That task was made more difficult by the weak libretto's two-dimensional characters and their culturally unfamiliar aspects.
"A young virgin priestess is not in my realm of experience. It's much easier to play a sexy courtesan like Violetta in 'La Traviata.'"
Dunleavy said Castaldo's approach to the opera embraces its voluptuous passion.
"She likes to look at what motivates the characters spiritually. She wants to take the intellectual away so we interact in a visceral way."
The dance sequences, traditionally written into the scores of French operas, seem designed to abet the director's vision.
"Bizet composed music that screams to be danced to," Dunleavy said. "The choreographer, Peggy Hickey, and some
really talented dancers create some beautiful dancing that has a very primitive kind of feeling."
And feelings expressed in music are what opera is about, after all.
"At heart this is a classic love triangle, and it makes for good, passionate, exciting opera with beautiful music."
Seattle Opera's "The Pearl Fishers" plays at Marion Oliver McCaw Hall, 321 Mercer St., Saturday, Jan. 10 through Saturday, Jan. 24. Prices starting at $25. Tickets/information: 389-7676, www.seattleopera.org.
Freelance writer Maggie Larrick lives in the Seattle area and is a former editor of the News.
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