Bizet's Other Opera: 'The Pearl Fishers' Georges Bizet is most famous today for the dazzling opera Carmen, but during his lifetime the exotic drama The Pearl Fishers was a far greater success, and it still boasts some of his finest melodies.
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Montreal Opera on World of Opera -- 'The Pearl Fishers'

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Bizet's Other Opera: 'The Pearl Fishers'

Bizet's Other Opera: 'The Pearl Fishers'

From the Montreal Opera

Montreal Opera on World of Opera -- 'The Pearl Fishers'

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In the popular Act One duet "Au fond du temple saint" — "Deep in the holy temple" — Nadir and Zurga affirm their lifelong friendship. In the Montreal production it's sung by tenor Antonio Figueroa and baritone Phillip Addis.

"Au fond du temple saint" from "The Pearl Fishers"

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The B Side

In Act Two, Leila remembers her time with Nadir in the aria "Comme autrefois" — "As it was before." Soprano Karina Gauvin sings it at the Montreal Opera.

"Comme autrefois" from "The Pearl Fishers"

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Mention the name Georges Bizet to a roomful of music lovers and responses will vary widely, ranging from "one of the all time greats" to "lightweight tunesmith." Regardless of the opinions, that second description contains a key word: tune. And Bizet wrote plenty of great ones.

Zurga (baritone Phillip Addis) is forced to pronounce death sentences on both the woman he loves and his best friend, in Bizet's The Pearl Fishers from Montreal. Yves Renaud/Montreal Opera hide caption

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Yves Renaud/Montreal Opera

Sometimes, it seems like all of Bizet's most familiar melodies can be found in one place — his wildly popular opera, Carmen. Carmen's "Habanera," the "Toreador March" and the Don Jose's "Flower Song" are just a few of the opera's many hit numbers.

But at least one of Bizet's best-loved tunes doesn't come from Carmen at all. It's from Bizet's "other opera," the only one of several others he wrote that is heard in opera houses today. It's called The Pearl Fishers, and even if the name sounds unfamiliar, its most famous number — a duet for tenor and baritone called "Au fond du temple saint" — is another one of those familiar, infectious Bizet melodies that has wandered out of the opera house and into pop culture.

The duet comes at a point, early in the story, when the two characters singing acknowledge that they're both in love with the same woman, but they've decided to give her up. Surely, the men declare with deep emotion, no woman is worth jeopardizing their lifelong bond. (Yeah, right.) When she reappears in their lives, the result is a life and death struggle, and as the final curtain falls, their whole village is burning to the ground! So much for eternal friendship.

On World of Opera, host Lisa Simeone presents a production of Bizet's The Pearl Fishers from the Montreal Opera. Tenor Antonio Figueroa and baritone Phillip Addis star as the two troubled friends, with soprano Karina Gauvin as the woman who comes between them. The performance comes to us from Wilfrid Pelletier Hall, at the Place des Arts in Montreal.

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The Story of 'The Pearl Fishers'

Zurga (Phillip Addis, center) leads the procession carrying Leila (Karina Gauvin) into the village. Yves Renaud/Montreal Opera hide caption

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Yves Renaud/Montreal Opera


  • Phillip Addis ....................... Zurga
  • Antonio Figueroa ................ Nadir
  • Karina Gauvin ..................... Leila
  • Alexandre Sylvestre .... Nourabad
  • Montreal Opera Orchestra and Chorus
  • Frederic Chaslin, conductor

Of the dozen or so operas Bizet composed, only six are still around in performable versions, and only five were actually performed in his lifetime. Amazingly, his masterpiece Carmen was a flop at its premiere in 1875, and Bizet never got to enjoy its worldwide triumph; he died just a few months after its failed first production.

The Pearl Fishers was an earlier opera, written in 1863. Unlike Carmen, its premiere was a respectable success. Today we don't hear it all that often, and its reputation is based mainly on the beautiful tenor-baritone duet in the first act. That number has become a concert showpiece, and it was even performed at Bizet's own funeral service.

The Pearl Fishers is in three acts, all set on the island then called Ceylon, now the nation of Sri Lanka, off the coast of India. ACT ONE opens in a village of pearl divers, or pearl fishers. The fishermen elect Zurga as their tribal chief, promising him their loyalty. A hunter named Nadir shows up. He's been gone for several years and asks the men if they'll take him back.

Then comes the famous, "Au fond du temple saint" — "Deep in the holy temple." Zurga and Nadir are old friends, and they remember their last time together. They had visited the great temple, and both men fell in love with a beautiful woman who was leading a ceremony. Knowing this woman might come between them, they renounced her and pledged their eternal friendship.

The strength of their pledge is soon tested. In the next scene, a canoe arrives carrying this year's consecrated virgin — a veiled young woman whose ritual songs will protect the pearl fishers from danger. Her name is Leila, and she's accompanied by the old priest Nourabad. Leila sings her oath of chastity. Zurga, as the fishermen's leader, promises her the most beautiful pearl if she keeps her oath — and death if she does not.

Leila and Nourabad go into the temple, while Zurga and the fishermen head for home, leaving Nadir behind.

When Leila begins to sing, Nadir hears her and recognizes her songs — she's the woman he and Zurga both fell for years ago. Hearing her now, Nadir is in love all over again. He sings the beautiful "Je crois entendre encore," following his memories back in time, and feels his resolve melting. When Leila hears Nadir's song and approaches him, the two recognize each other and declare their love.

It's nighttime as ACT TWO begins. Nourabad tells Leila she can get some rest, and reminds her of her vow of chastity. She tells a story from her childhood, when she risked her life to save a fugitive, who gave her a necklace in gratitude. She has worn the necklace ever since.

When Nourabad leaves, Leila senses that Nadir is nearby. When he approaches her, she tries to turn him away, but eventually she gives in. As the sounds of a storm are heard, Nourabad returns. He finds the lovers together, and calls for the villagers to seize them.

The guilty pair are forced to appear before Zurga to receive their punishment. At first, all Zurga sees is his friend Nadir and a veiled priestess, and he decides to pardon the couple. But when Nourabad tears the veil from Leila's face, and Zurga recognizes her, he's furious. He retracts his pardon, and instead condemns both lovers to death.

As ACT THREE opens, Zurga is despondent. He has gotten over his jealous anger, and now he regrets the death sentence he handed down. Leila enters and pleads for Nadir's life, telling Zurga that she should die, but Nadir should be spared. Instead of inspiring pity, her plea infuriates Zurga. He becomes jealous all over again and tells Leila that he, too, has always loved her, but gave her up in loyalty to Nadir. Desperate, Leila asks for one last favor. She removes her precious necklace, given to her years ago by the mysterious fugitive, and begs Zurga to give it to her mother.

As dawn approaches, people gather at the holy temple to prepare for the executions. But someone sees a strange light, and the people realize that their village is on fire.

As everyone rushes off to save their homes, Zurga appears and releases the two lovers. It was Zurga who set the fire, as a distraction. He has recognized Leila's necklace, and knows that he was the fugitive she rescued years ago. He forgives Nadir and Leila, and helps them to escape. As the opera ends, the lovers are heard singing in the distance, while Zurga stands alone in the glow of the flames.