Bizet pearl divers. Use in popular culture

“Brilliant Onegin”, “noble Germont”, “sparkling and charming Figaro” - this is what critics write about bright images, created by Vasily Ladyuk. His voice - a lyrical baritone with a colorful timbre palette - adorns opera productions in Russia and abroad. Ladyuk is the leading soloist of the Moscow Novaya Opera Theater named after Kolobov (since 2003), guest soloist of the Bolshoi Theater of Russia (since 2007); performs on the stages of the Mariinsky Theatre, the Metropolitan Opera, the Houston Grand Opera, the Reggio and La Fenice theaters, the Royal Norwegian Opera and many others.

A graduate of the Moscow Sveshnikov Choral School and the Popov Academy of Choral Arts (vocal and conducting-choral departments, 2001), Ladyuk improved his skills in graduate school at the Academy (class of Professor Dmitry Vdovin), at master classes with specialists from La Scala, the Metropolitan Opera, Houston Grand Opera (2002-2005).

Already at the beginning creative path the musician became the winner of prestigious international competitions: named after Francisco Viñas in Barcelona (Grand Prix and prize audience choice), Placido Domingo's Operalia in Madrid (First Prize) and the Shizuoka Singing Competition in Japan (Grand Prix). This was followed by successful performances at the largest opera houses in the world - the Mariinsky, the Paris Opera, the Metropolitan Opera, La Scala, and Covent Garden. The singer's repertoire includes over thirty opera and cantata-oratorio roles.

Ladyuk collaborated with outstanding conductors and directors, including Valery Gergiev, Placido Domingo, Vladimir Spivakov, Vladimir Fedoseev, Mikhail Pletnev, Dmitry Yurovsky, James Conlon, Gianandrea Noseda, Andrei Konchalovsky, Dmitry Chernyakov, Francesca Zambello, Kasper Holten. The artist's performances took place in Brussels, Oslo, Venice, Turin, Tokyo, and Houston. Ladyuk – regular participant festivals “Vladimir Spivakov Invites”, “Cherry Forest”, “Crescendo” by Denis Matsuev, as well as the International Music Festival in Colmar (France). Ladyuk – initiator and artistic director Music festival OPERA Live, held for the third time in 2016.

Ladyuk took part in the play “Dear Friend,” dedicated to Pyotr Ilyich Tchaikovsky and Nadezhda Filaretovna von Meck, which was staged at Buckingham Palace with the assistance of Prince Charles. Participated in the work of the jury of the project of the TV channel “Culture” “Big Opera”. Awarded the Triumph Youth Prize (2009) and the Oleg Yankovsky Prize (Creative Discovery nomination, 2011-2012).

Ekaterina Syurina

Ekaterina Syurina born in 1975 in Sverdlovsk (now Yekaterinburg) into an artistic family (father - artist, mother - theater director). There she graduated from the conducting and choral department Music College them. P.I. Tchaikovsky, then - Russian Academy theatrical art in Moscow (with professors A. Titel and E. Sargsyan). While still a student at RATI-GITIS, Ekaterina was accepted into the Moscow Municipal Theater "New Opera", where she made a brilliant debut in 1999 as Gilda in G. Verdi's opera "Rigoletto", in an ensemble with the famous baritone Dmitry Hvorostovsky. Having become a soloist of the Novaya Opera Theater, she sang a number of title roles on its stage, incl. in “Mary Stuart” by G. Donizetti and “The Snow Maiden” by N. Rimsky-Korsakov.

Ekaterina Syurina - winner of the Young People's Competition opera singers them. Rimsky-Korsakov and the International Competition of Chamber Singers E. Obraztsova (both in St. Petersburg).

Since 2003, the singer regularly performs on best scenes peace. Among her notable achievements are the roles of Juliet in “Capulets and Montagues” by V. Bellini at the Montpellier Opera and the Royal Walloon Opera in Brussels; Elvira in Bellini's "The Puritans" at the Monte Carlo Opera; Adina in Donizetti's L'elisir d'amore at the State Opera Houses of Berlin and Hamburg; Gilda at the Royal Opera House in London, the Deutsche Oper in Berlin and the Bordeaux Opera; Servilia in “The Mercy of Titus” by V.A. Mozart at the Parisian Opera Garnier (the performance is recorded on DVD). Performed the role of Gilda in the production of Rigoletto at the Savonlinna Opera Festival (Finland).

Syurina’s Italian debut took place as Susanna in Mozart’s “The Marriage of Figaro” at the Teatro alla Scala in Milan. The next performance in Italy was “Elisir of Love” as part of the troupe of the Parisian Opera Bastille. The performance of “Idomeneo” with the participation of Syurina in the role of Elijah was recorded on DVD on the Decca label in 2006 at the Salzburg Festival, dedicated to the 250th anniversary of Mozart’s birth.

In October 2006, Ekaterina made her debut at the Metropolitan Opera as Gilda, and in November 2007 she sang the role of Suzanne in Le nozze di Figaro. Her partners were Juan Pons and Bryn Terfel.

Ekaterina Syurina also performs on the concert stage. She performed the soprano solo in Carl Orff's Carmina Burana with the Royal London Philharmonic Orchestra and the Danish Radio Symphony Orchestra conducted by Yuri Temirkanov, as well as in Mozart's Mass in C Minor with the Orchester de Paris.

The singer collaborates with many outstanding conductors of our time, including Yuri Temirkanov, Sir Roger Norrington, Philip Jordan, Richard Boning and Daniel Harding.

The artist's recent engagements included "Elisir of Love" in Municipal Theater Salerno under Daniel Oren, at the Glyndebourne Festival and at the Houston Grand Opera; roles of Leila in “The Pearl Fishers” by G. Bizet at the San Diego Opera, Amina in “La Sonnambula” by Bellini at the Michigan Opera Theater, Gilda in “Rigoletto”, Lauretta in “Gianni Schicchi” by G. Puccini and Suzanne in “The Marriage of Figaro” at the Opera Bastille, Zerlina in Mozart's Don Giovanni at the 2008 Salzburg Festival, Le nozze di Figaro with the Budapest Festival Orchestra on tour in Las Palmas.

In December 2010, Ekaterina Syurina, together with her husband, tenor Charles Castronovo (USA), toured Russia as part of the project “Dmitry Hvorostovsky and His Friends.” The concerts took place from December 10 to 19 in Moscow, St. Petersburg, Tyumen and Yekaterinburg.

Ekaterina Syurina’s plans include Juliet in “Capulets and Montagues” at the Opera National de Paris Bastille and in Bavarian Staatsoper in Munich; Gilda in Rigoletto, Lauretta in Gianni Schicchi and Pamina in Mozart's The Magic Flute at the Royal Opera House in London; Amina in “Somnambulist” at the Vienna Staatsoper. In the 2012/2013 season, Ekaterina makes her debut in the role of Anne Truelove in The Rake's Progress on the stage of Opera Bastille.

Ekaterina Syurina's upcoming performances include a gala concert in Abu Dhabi (United Arab Emirates) and concerts in Moscow.

Yaroslav Abaimov

Yaroslav Abaimov graduated from the Moscow Choral School named after A.V. Sveshnikov in 2005 and the Academy of Choral Art named after V.S. Popov in 2010. At the Academy he studied in two departments: “vocal art” (class of S. G. Nesterenko) and “choral conducting” (class of A. I. Gavdush). As a member of the Academy Choir, Yaroslav Abaimov performed at prestigious music venues in Moscow, Russian cities and abroad, including as a soloist. The singer is the winner of the first prize All-Russian competition vocalists named after A. Pirogov (2005), second prize at the International Competition " Art XXI century" (Ukraine, 2006) and the winner of the International Vocal Competition in Almaty (2013).

In 2007, at the anniversary of the St. Petersburg State Academic Ballet Theater under the direction of Boris Eifman, the singer performed the tenor part in Mozart's Requiem with the National Philharmonic Orchestra of Russia conducted by Vladimir Spivakov. In 2009, at the music festival Fetes Musicales de Savoie (France), he sang the same part with the Minsk Philharmonic Orchestra under Andrei Galanov and the part of Lucas in Haydn’s oratorio “The Seasons” (conducted by Gerardo Martinez). Also in 2007-2008, he took part in master classes at the International School of Vocal Excellence, where his teachers were Gloria Guida Borrelli, Giandomenico Bisi (Italy) and George Darden (USA).

Since 2010, Yaroslav Abaimov has been a soloist at the Moscow New Opera Theater named after E.V. Kolobov. In the theater he performs the roles of Lensky and Triquet (“Eugene Onegin”), Ovlur (“Prince Igor”), Bayan (“Ruslan and Lyudmila”), the Fool (“Boris Godunov”), Ramiro (“Cinderella”), the Brabant nobleman (“ Lohengrin"), The Young Sailor ("Tristan and Isolde") and others.

In September 2015, the singer made his debut on the historical stage. Bolshoi Theater Russia in the role of the Holy Fool (“Boris Godunov”).

Yaroslav Abaimov is a guest soloist at the Reis Opera in the Netherlands. In January 2015, the singer made his debut here as Nadir in the opera “The Pearl Fishers” by Bizet, in February 2016 - as Ferrando in the opera “That’s What All Women Do” by Mozart.

Dmitry Orlov

Dmitry Orlov Graduated from the Academy of Choral Art named after V. S. Popov (class of Dmitry Vdovin), and then graduate school (class of Svetlana Nesterenko). He toured with the Academy choir to Mexico, the USA, Canada, Switzerland, Germany, France, and England. Participated in concerts of Dmitry Hvorostovsky, Jonas Kaufman, Renee Fleming. In 2007–2008 he took part in the “International Vocal School” project.

The singer is a laureate of the XIII International student vocal competition Bella voce in Moscow (2005, second prize), as well as a diploma winner of the XXIV International vocal competition named after M. I. Glinka in Moscow (2011). In 2008, Dmitry Orlov performed the role of Lord Sydney in a concert performance of Rossini’s opera “Journey to Reims” in the Chamber Hall of the Moscow International House of Music. Subsequently he took part in the production of this opera in Aix-en-Provence. In 2009, the singer performed the title role in a special production for children of Wagner's opera The Flying Dutchman as part of the Bayreuth Festival. In 2010, he performed as the Duke of Verona in a concert performance of Gounod's opera Romeo and Juliet at the Tchaikovsky Concert Hall. At the International Festival in Oldenburg he sang the title role in the opera “Aleko” by Rachmaninov.

Since 2010, Dmitry Orlov has been working at the Moscow Novaya Opera Theater named after E.V. Kolobov. On the stage of the theater he performs the roles of Vladimir Galitsky (Prince Igor by Borodin), Malyuta Skuratov (The Tsar's Bride by Rimsky-Korsakov), Alidoro (Cinderella by Rossini), Figaro (The Marriage of Figaro by Mozart), Kurvenal (Tristan and Isolde "Wagner), Bertrand ("Iolanta" by Tchaikovsky), Zaretsky ("Eugene Onegin" by Tchaikovsky), Moliere, Baron, Teacher of Philosophy ("School of Wives" by Martynov) and many others.

State Academic Symphony Orchestra Russia named after E. F. Svetlanov

In 2016, the State Orchestra of Russia named after E. F. Svetlanov, one of the oldest symphony groups in the country, celebrated its 80th anniversary. The orchestra's first performance, conducted by Alexander Gauk and Erich Kleiber, took place on October 5, 1936 in the Great Hall of the Moscow Conservatory.

IN different years The State Orchestra was led by outstanding musicians Alexander Gauk (1936-1941), Nathan Rakhlin (1941-1945), Konstantin Ivanov (1946-1965) and Evgeny Svetlanov (1965-2000). On October 27, 2005, the team was named after Evgeniy Svetlanov. In 2000-2002 The orchestra was led by Vasily Sinaisky, in 2002-2011. – Mark Gorenstein. On October 24, 2011, Vladimir Yurovsky was appointed artistic director of the group, worldwide famous conductor, collaborating with the largest opera houses and symphony orchestras in the world. Since the 2016/17 season, the main guest conductor of the State Orchestra is Vasily Petrenko.

The orchestra's concerts took place at the most famous concert venues in the world, including the Great Hall of the Moscow Conservatory, the Tchaikovsky Concert Hall and the State Kremlin Palace in Moscow, Carnegie Hall in New York, the Kennedy Center in Washington, Musikverein in Vienna, Albert Hall in London, Salle Pleyel in Paris, Teatro National Opera Colon in Buenos Aires, Suntory Hall in Tokyo. In 2013, the orchestra performed for the first time on Red Square in Moscow.

Behind the board of the group were Herman Abendroth, Ernest Ansermet, Leo Blech, Andrey Boreyko, Alexander Vedernikov, Valery Gergiev, Nikolai Golovanov, Kurt Sanderling, Otto Klemperer, Kirill Kondrashin, Lorin Maazel, Kurt Mazur, Nikolai Malko, Ion Marin, Igor Markevich, Evgeniy Mravinsky, Alexander Lazarev, Charles Munsch, Gintaras Rinkevičius, Mstislav Rostropovich, Saulius Sondetskis, Igor Stravinsky, Arvid Jansons, Charles Duthoit, Gennady Rozhdestvensky, Alexander Sladkovsky, Leonard Slatkin, Yuri Temirkanov, Mikhail Yurovsky and other outstanding conductors.

The orchestra featured singers Irina Arkhipova, Galina Vishnevskaya, Sergei Lemeshev, Elena Obraztsova, Maria Guleghina, Placido Domingo, Montserrat Caballe, Jonas Kaufman, Dmitry Hvorostovsky, pianists Emil Gilels, Van Cliburn, Heinrich Neuhaus, Nikolai Petrov, Svyatoslav Richter, Maria Yudina, Valery Afanasyev, Eliso Virsaladze, Evgeny Kisin, Grigory Sokolov, Alexey Lyubimov, Boris Berezovsky, Nikolay Lugansky, Denis Matsuev, violinists Leonid Kogan, Yehudi Menukhin, David Oistrakh, Maxim Vengerov, Victor Pikaizen, Vadim Repin, Vladimir Spivakov, Victor Tretyakov, violist Yuri Bashmet, cellists Mstislav Rostropovich, Natalia Gutman, Alexander Knyazev, Alexander Rudin.

In recent years, the list of soloists collaborating with the group has been replenished with the names of singers Dinara Aliyeva, Aida Garifullina, Waltraud Mayer, Anna Netrebko, Khibla Gerzmava, Alexandrina Pendachanskaya, Nadezhda Gulitskaya, Ekaterina Kichigina, Ildar Abdrazakov, Dmitry Korchak, Vasily Ladyuk, Rene Pape, pianists Marc-André Hamelin, Leif Ove Andsnes, Jacques-Yves Thibaudet, Mitsuko Uchida, Rudolf Buchbinder, violinists Leonidas Kavakos, Patricia Kopatchinskaya, Julia Fischer, Daniel Hope, Nikolai Znaider, Sergei Krylov, Christophe Barati, Julian Rakhlin. Considerable attention is also paid working together with young musicians, including conductors Dimitris Botinis, Maxim Emelyanichev, Valentin Uryupin, Marius Stravinsky, Philipp Chizhevsky, pianists Andrei Gugnin, Luca Debargue, Philipp Kopachevsky, Yan Lisetsky, Dmitry Masleev, Alexander Romanovsky, Nikita Mndoyants, violinists Alena Baeva, Ailen Pritchin , Valery Sokolov, Pavel Milyukov, cellist Alexander Ramm.

Having first visited abroad in 1956, the orchestra has since presented Russian art in Australia, Austria, Belgium, Hong Kong, Denmark, Italy, Canada, China, Lebanon, Mexico, New Zealand, Poland, USA, Thailand, France, Czechoslovakia, Switzerland, South Korea, Japan and many other countries.

The band's discography includes hundreds of records and CDs released by leading companies in Russia and abroad (Melodiya, Bomba-Piter, Deutsche Grammophon, EMI Classics, BMG, Naxos, Chandos, Musikproduktion Dabringhaus und Grimm, Toccata Classics, Fancymusic and others). A special place in this collection is occupied by the “Anthology of Russian symphonic music", which includes audio recordings of works by Russian composers from Glinka to Stravinsky (conducted by Evgeny Svetlanov). Recordings of orchestra concerts have been made Mezzo TV channels, Medici, “Russia 1” and “Culture”, radio “Orpheus”.

Recently, the State Orchestra has performed at festivals in Grafenegg (Austria), Kissinger Sommer in Bad Kissingen (Germany), Hong Kong Arts Festival in Hong Kong, Arts Square in St. Petersburg, VI Mstislav Rostropovich Festival in Moscow, III Russian Symphony Forum in Yekaterinburg, Platonov Arts Festival in Voronezh, XIII Moscow International Festival “Guitar Virtuosos” in Moscow, VIII International festival Denis Matsuev in Perm, IV International Festival of Arts of P. I. Tchaikovsky in Klin; performed world premieres of works by Alexander Vustin, Sergei Slonimsky, Anton Batagov, Andrei Semenov, Vladimir Nikolaev, Oleg Paiberdin, Efrem Podgaits, Yuri Sherling, as well as Russian premieres of works by Beethoven - Mahler, Scriabin - Nemtin, Orff, Berio, Stockhausen, Tavener, Kurtag , Adams, Silvestrov, Shchedrin, Tarnopolsky, Gennady Gladkov; took part in the XV International Tchaikovsky Competition, the I and II International Competition for Young Pianists Grand Piano Competition; presented the annual cycle of educational concerts “Stories with the Orchestra” six times; participated four times in the festival of contemporary music “Another Space”; visited the cities of Russia, Austria, Argentina, Brazil, Great Britain, Peru, Uruguay, Chile, Germany, Spain, Turkey, China, Japan.

Since 2016, the State Orchestra has been implementing a special project to support composer creativity, involving close cooperation with contemporary Russian authors. The first “composer in residence” in the history of the State Orchestra was Alexander Vustin.

For outstanding creative achievements, the team has been awarded the honorary title “academic” since 1972; in 1986 there was awarded the order Red Banner of Labor, in 2006, 2011 and 2017. awarded the gratitude of the President of the Russian Federation.

Academic Big Choir "Masters of Choral Singing"

The Academic Big Choir (ABH) was created in 1928, its organizer and first artistic director was outstanding master choral art Alexander Sveshnikov. IN different time The choir was led by Nikolai Golovanov, Ivan Kuvykin, Claudius Ptitsa, Lyudmila Ermakova.

In 2005, he was invited to the Academic Big Choir (dubbed “Masters of Choral Singing”) to the position of artistic director. National artist Russia, Professor Lev Kontorovich. Under his leadership updated composition successfully continues the traditions laid down by its predecessors. The name itself - “Masters of Choral Singing” - predetermined the professionalism and versatility of the group, where each artist can perform both as a member of the choir and as a soloist.

For 90 years, the choir has performed more than 15,000 works - operas, oratorios, cantatas of Russian and foreign composers, a cappella works, folk songs, sacred music. Many of them formed the “golden fund” of domestic sound recording and received recognition abroad (Grand Prix of the recording competition in Paris, Gold medal in Valencia).

In 2017, “Anthology of Symphonies of Dmitry Shostakovich” was published, recorded by the State Symphony Orchestra of the Republic of Tatarstan (artistic director and conductor - Alexander Sladkovsky), ABH took part in the recording of several symphonies. In 2016–2017 recordings of Russian music were made (cantatas “John of Damascus” by Taneyev, “Spring” by Rachmaninov, the opera “Eugene Onegin” by Tchaikovsky) in collaboration with the National Philharmonic Orchestra of Russia (artistic director and conductor - Vladimir Spivakov).

The Big Choir performed for the first time many choral works Prokofiev, Shostakovich, Shchedrin, Khachaturian, Taktakishvili, Agafonnikov, Evgrafov and other authors. Such outstanding conductors as Evgeny Svetlanov, Mstislav Rostropovich, Vladimir Spivakov, Dmitry Kitayenko, Vladimir Fedoseev, Helmut Rilling, Gennady Rozhdestvensky, Alberto Zedda, Ennio Morricone, Vladimir Yurovsky, Mikhail Pletnev, Christoph Eschenbach worked with the team; singers Elena Obraztsova, Irina Arkhipova, Nikolai Gedda, Dmitry Hvorostovsky, Anna Netrebko, Maria Guleghina, Dinara Aliyeva, Zurab Sotkilava, Evgeniy Nesterenko, Roberto Alagna, Angela Georgiu and many others.

In collaboration with Helmut Rilling, the orchestra and soloists of the Bach Academy, all of J. S. Bach’s major works were performed in Moscow, as well as the Mass in B minor at the Mariinsky Theater in St. Petersburg. As part of the Music Festival in Colmar (France), the dramatic legend “The Damnation of Faust” by Berlioz was performed with the National Philharmonic Orchestra of Russia under the baton of Michel Plasson. In 2008, 2012 and 2018, the Academic Big Choir took part in the inauguration ceremonies of the Presidents of the Russian Federation D. A. Medvedev and V. V. Putin.

The Academic Big Choir participated in the Moscow Easter Festival of Valery Gergiev, the Moscow Christmas Festival (artistic directors - Vladimir Spivakov and Metropolitan Hilarion of Volokolamsk), Moscow Lenten Choir Festival (artistic directors - Alexander Sokolov and Metropolitan Hilarion of Volokolamsk), festivals in Colmar (France), Ravello (Italy), Mstislav Rostropovich in Moscow, “Opera Live” by Vasily Ladyuk, Crescendo by Denis Matsuev and many others.

In 2014, during the group’s tour of Costa Rica, the artists were invited to the Presidential Residence, where they had a meeting with the leader of the country and a concert. The Academic Big Choir was applauded in the largest concert halls cities of Russia, China, Italy, France, Germany, Israel, Bulgaria, Czech Republic, Japan, South Korea, Qatar, Indonesia, etc. The team tours in various regions of Russia, including Siberia, the Urals and the Far East.

Laurent Campellone

Laurent Campellone studied violin, tuba, percussion instruments, studied vocals, received a degree in philosophy, and graduated from the Frederic Chopin Conservatory in Paris in the class of opera and symphony conducting. At 23 he became an assistant music director Toulon Opera, and at the age of 29 he won the VIII International Competition for Young Conductors of the European Union (Spoleto, Italy, 2001). In 2004, Campellone became music director of the Opera House and the Saint-Etienne Symphony Orchestra. A special place in the musician’s repertoire is occupied by rarely performed works by French romantics: “Sappho”, “The Juggler of Our Lady”, “Ariadne”, “The Magician” and “Navarrca” by J. Massenet, “The Queen of Sheba” and “Polyeucte” by C. Gounod, “The King” city of Is" E. Lalo.

Since 2009, Campellone has been Principal Guest Conductor National Opera Sofia (Bulgaria). Under the direction of Laurent Campellone, about 250 symphonic works and 50 operas were performed, including La Gioconda by A. Ponchielli, Carmen by G. Bizet, Turandot by G. Puccini (German Opera in Berlin), Les Troyens by G. Berlioz ( Amazon Theater, Manaus, Brazil), “The Pearl Fishers” by J. Bizet and “Faust” by C. Gounod (Madison Opera), “Lakmé” by L. Delibes, “Don Quixote” by J. Massenet, “La Traviata” by G. Verdi, “ Turandot by G. Puccini, Damnation of Faust by G. Berlioz (National Opera of Bulgaria, Sofia), Pericola by J. Offenbach (Marseille Opera), Don Pasquale and Lucia di Lammermoor by G. Donizetti, Cleopatra by D. Cimarosa (Experimental) Opera theatre Spoleto, Italy), “The Star” by E. Chabrier, The Grand Duchess of Gerolstein by J. Offenbach, “The Breasts of Tiresias” and “The Human Voice” by F. Poulenc (Toulon Opera), “The Tales of Hoffmann” by J. Offenbach and “The Star” by E. Chabrier (Opera of Angers and Nantes), “The Barber of Seville” by G. Rossini (National Opera of Bordeaux), “Cenerentola” by G. Rossini (Opera Bogota), “Werther” by G. Massenet (Opera Messina). Campellone performed at festivals in La Chaise-Dieu and La Côte-Saint-André (France). He is a guest conductor of the Bolshoi Theater of Russia.

Maestro Campellone collaborates with many orchestras, among them: the Bavarian Radio Symphony Orchestra, the Brazilian National Symphony Orchestra, the National Symphony Orchestra of Radio and Television of Ireland, the National Orchestra of the Capitol of Toulouse, the State Symphony Orchestra "New Russia", the Sofia Philharmonic Orchestra, National Orchestra Loire lands, Orchestra of the National Opera of Nancy, Philharmonic Orchestra Nice.

Les pêcheurs de perles
Opera in three acts (four scenes)
Libretto by M. Carre and E. Cormon.
The first performance took place on September 30, 1863. in Paris.

Characters:
Leila, a girl from the people (soprano)
Zurga, Lord of the Islanders (baritone)
Nadir, his childhood friend (tenor)
Nurabad, high priest (bass)
Pearl seekers, priests, fakirs, witches, Hindus, etc.

Location: o. Ceylon.

Act one. Wild rocky coast of Ceylon. In the depths on the rock you can see the ruins of an ancient Indian pagoda. People: men, women and children. Some clean their huts, others dance and sing to the sounds of different Indian instruments. Fishermen, going pearl fishing, sing about the difficulties and dangers of their fishery. The fisherman Zurga enters and, addressing the islanders, says that it is time for them to leave dancing and fun, and now they must elect a leader who would teach them the laws and be their protector and patron. The fishermen answer that they elect him, Zurga, as leader, and swear obedience and loyalty to him. Zurga accepts the election and vows to be a good ruler. Zurga's friend Nadir appears. Zurga hurries to meet him. Nadir, responding to greetings, says that he is returning from long wanderings, during which he hunted tigers and panthers, more than once putting his life in danger. Zurga and the people ask Nadir to stay with them and be their friend. Nadir agrees and says that he will share their joy and sorrow. Zurga invites Nadir, before getting down to business, to say hello to the sun, sky and seas and for now take part in the general fun. Dancing and singing resume. Then the fishermen disperse in different directions. Zurga and Nadir are left alone. Zurga rejoices at meeting with his old friend and asks Nadir if he remained faithful to his previous vows and whether he currently sees him as a friend or enemy. Nadir replies that now he has already mastered himself in ill-fated mad love. He had already lost interest in that unknown maiden who, having appeared at the temple one evening, immediately charmed them both with her heavenly beauty and lit a fire in their hearts passionate love, making them enemies and rivals from that moment. Now the passion has subsided in his chest, and from now on nothing will separate them. Nadir and Zurga vow to remain eternal friends. At this time, a young girl, Leila, wrapped in a wide blanket, swims to the shore on a pirogue. She is accompanied by the priest Nurabad, fakirs, and sorcerers. Zurga, seeing Leila approaching from a distance, says that he was waiting for her and praises Brahma for her safe arrival. When asked by Nadir who exactly he was waiting for on this shore, Zurga replies that he was waiting for a young maiden, the chosen one of the people, who, having taken a vow of purity, is able, according to ancient belief, to save the islanders, pearl seekers, with her songs and prayers from the evil ones. spirits of the underwater kingdom, from misfortunes and storms at sea. All the fishermen and a large crowd of people come out to meet Leila and joyfully greet her. Women surround her and, offering flowers, ask Leila to be their protection and to drive out the underwater evil spirits with song. Zurga turns to Leila with the question of whether she will remain faithful to her vow not to remove the veil from her face and live her girlhood days without love. Leila swears. At the request of Zurga, Leila further vows to pray day and night for her native people and drive away evil spirits from him with your singing. Zurga announces to her that if she fulfills her vow, she will deserve the largest pearl as a reward and can become worthy of the king, but if she betrays her vows, then execution awaits her. At that moment, Leila turned her attention to Nadir and, recognizing him as the same stranger who made a strong impression on her already at their first meeting in the temple during the evening service, she shudders slightly and says quietly to herself, “Ah!” Here he is! Zurga, noticing this, tells her that if, perhaps, a criminal consciousness has awakened in her, then it is better for her to run away from here and return to her former freedom. But Leila remains adamant and solemnly declares that she remains with the priests to pray to Brahma for the fishermen’s protection and mercy. Hearing Leila’s voice, Nadir wants to rush to her, but suddenly stops, trying to hide his excitement. At a sign from Zurga, Leila heads along a narrow path leading to the ruins of an ancient temple. Nurabad and the fakirs follow her. The people pray and then disperse in different directions. Fishermen leave the shore, going to sea for their fishery. Zurga, holding out his hand to Nadir, leaves with last group fishermen, leaving Nadir alone. It's getting dark. Nadir alone sings about his love for Leila, which flared up in him with new strength under the influence of a sudden meeting. But fatigue takes over his feelings; he lies down on the mat and immediately falls asleep. Leila, accompanied by Nurabad and the fakirs, appears on the top of a cliff overlooking the sea. Fakirs light a fire in front of the temple6r. Nurabad draws a magic line in the air with his wand, then fans the flames and invites Leila to sing her prayer over the blazing fire. Leila, turning to the ruler of heaven and earth, the omnipotent Brahma, and to the goddess Siva, the golden-haired queen, asks them to hear her prayers. Nadir, waking up, recognizes the voice of his beloved. He carefully crawls to the foot of the cliff and quietly exhorts Leila not to be afraid of anyone, since he is ready to give his life for her. Leila, leaning towards him, slowly lifts the veil from her face. Nadir, delighted, whispers tender words to her and assures her of his love. Leila does not hide her feelings for Nadir and pours them out in a touching song.
Act two. The interior of the ruins of an Indian temple. On the terrace, between the ruins, Leila and Nurabad appear, accompanied by fakirs. Nurabad reports to Leila that the boats with the fishermen have already landed on the shore and that their pearl fishing has already finished that night, so she can now rest here. Leila asks with fear whether he will really leave her here, in this wild area, alone. Nurabad reassures her, saying that she has nothing to fear, since on the sea side the area is protected by inaccessible steep cliffs, and his formidable guards are camped on the shore. Then he tells her that if she remains true to her vow, then she will not be afraid of any danger. Leila says that she has already kept the oath she made, risking her own life. This was back in childhood. One day a man ran into her house, begging for temporary shelter, fleeing from robbers. She took pity on the stranger and hid him, when suddenly the villains burst into the house and, threatening to kill her, demanded the extradition of the fugitive. But she still didn’t give him away, because she vowed to save his life. When night fell and the danger had passed, the rescued stranger left her house and gave her a pearl necklace as a farewell gift. Thus, by keeping her oath, she saved a man’s life. Nurabad reminds Leila to remain faithful to the new oath, remembering that she will have to answer for everything to Zurga, and, leaving, orders her to pray. Leila prays, asking Brahma to be her protection. Nurabad and the fakirs leave. Leila looks around with fear and says that she is afraid of something and cannot sleep. Then she glances towards the terrace and, remembering Nadir, is freed from fear. She says to herself that her beloved Nadir will not leave her in danger and will probably come here soon. The premonition does not deceive Leila; Indeed, at this moment Nadir’s voice is heard behind the stage, who sings that he came to protect Leila’s peace, and that he strives for her with all his soul, ready to give his life for her. Nadir, carefully making his way between the ruins, appears on the terrace and rushes to Leila. When asked by Leila how he decided to risk his life to get here, Nadir replies that he, inspired by love, despised the danger, and God protected him. Leila, in fear, begs Nadir to leave, otherwise they will both die, since she took a vow of purity and renounced earthly love. But Nadir asks her to calm down her fear and forgive him, saying that for now they are alone here, and there is a lot of time until the morning, and no one will hear them. Leila again asks him to leave and spare himself and her, but he remains and sadly reproaches her for not understanding his passion. Leila assures him of her passionate feelings, and both sing a love duet. After another reminder from Leila, Nadir leaves, agreeing to meet her again tomorrow night. They break up. Suddenly a shot is heard behind the stage. It was the guards who discovered the appearance of a person and sounded the alarm. Leila screams and falls to her knees. Nurabad and the fakirs run in and rush in pursuit of Nadir. All the people gather and ask in bewilderment what happened. Leila faints. Nurabad returns, accompanied by fakirs with torches, and explains to the people that some daring criminal has entered this sacred shelter. At this time, the guards bring Nadir. Pointing to him and Leila, Nurabad says to the people: “Here they are, the guilty, before you!” The angry crowd demands a terrible execution for them - burning. Nadir, addressing the crowd, asks to spare Leila and execute him alone, since he alone is to blame for everything. The fishermen rush to hit both criminals, but Nadir shields Leila with his chest and saves her from the fury of the crowd. At this moment, Zurga appears and orders the crowd not to touch the criminals. The fishermen retreat in bewilderment. Nadir and Leila are surprised at Zurga's nobility. Zurga advises Leila and Nadir to run away quickly. Nurabad tears off Leila's cover, saying that before she leaves, she must show her face to everyone. Looking at Leila, Zurga recognizes in her the object of his long-standing passion - the same singer in the temple who once lit the flame of love in his heart and almost made him Nadir’s enemy. He immediately changes his mind. A plan of revenge matures in him, and he declares to the people that now he cannot spare the criminals and they must die a terrible death. Nurabad and the people demand execution for the perpetrators. A strong clap of thunder is heard. A thunderstorm breaks out. The people fall to their knees in fear and, together with Nurabad, offer a prayer to Brahma. At a sign from Zurga, the fishermen forcefully take Nadir away. At the same time, the fakirs take Leila with them.
Act three. Picture one. Indian tent. Inside the tent lies Zurga, deep in thought. He can't sleep, he's being chased scary ghosts and the fever hits. With an expression of despair, he admits to himself that he sentenced Nadir, his childhood friend, to death penalty only under the influence of the blind passion that flared up in him for Leila. Currently, he regrets his cruel sentence, dictated by a sense of revenge, and would like to correct his mistake while there is still time. The execution of Nadir and Leila should take place early in the morning. In a fit of repentance, he mentally turns to Nadir and Leila and asks them to forgive him, deprived of the happiness of love, for his insane anger. At this time, Leila appears and is brought in by two fishermen. At the sight of Leila, his former love for her flares up again in Zurga’s heart. Leila asks permission to talk to him alone. Zurga orders the fishermen to leave. Leila tearfully asks Zurga to have mercy on Nadir, for he is innocent, and to execute her alone, the real criminal. Zurga replies that he cannot spare Nadir because Leila loves him. Leila again asks him to give life to Nadir, but Zurga rejects all her pleas, saying that he is jealous of Nadir because he loves her. Declaring his love to her, he complains and is indignant that she loves Nadir, while he, Zurga, is hated. Leila repeats her request for mercy, but Zurga is implacable and decides that both of them, Nadir and Leila, must die together. Leila curses Zurga. Nurabad appears, accompanied by several fishermen. In the distance you can hear screams of joy and cheerful noise. Nurabad reports to Zurga that the hour appointed for the execution is already close, and that the people, in anticipation of it, indulge in fun and rejoicing. Leila, shouting “The last hour has come!” takes off a pearl necklace from her neck and gives it to a young fisherman with a request to take it to her mother, promising to pray for him in heaven. Leila is taken away. Zurga hastily approaches the young fisherman, snatches the necklace from his hands and, recognizing in it the necklace that he once gave as a gift to the girl who saved him from the robbers, screams, amazed at this unexpected discovery that Leila was his savior. He then quickly runs away after Leila.
Picture two. Wild Valley, in the middle of which there is a fire. Indians, intoxicated, dance unbridled, drink wine and sing in chorus in anticipation of the execution of apostates. Leila and Nadir enter in chains, preceded by the high priests, headed by Nurabad. At this time, the entire horizon is illuminated with a red glow. The Indians mistake this glow for the rising of dawn and prepare to begin the execution, rapidly waving their daggers. Leila and Nadir are about to climb the first step of the blazing fire, when suddenly Zurga runs in and declares that the sky illuminated by the glow is not the dawn, but the real glow of a fire, which God in his anger sent to their villages and fields. He encourages everyone to rush to the place of the fire to save children and households from death. The people quickly run away. Nurabad is left alone with Zurga, Leila and Nadir. Throwing some fragrant herbs onto the sacred fire, he hides under a cactus to overhear what Zurga will say. Not suspecting that he is being spied on, Zurga openly tells Nadir and Leila that he lit this fire with his own hand in order to give them freedom and save them from punishment. He shows Leila the necklace he took from the fisherman and tells her that he is saving her now in gratitude for the salvation she once gave him. He then removes Nadir and Leila's shackles and declares them free. Nurabad, who heard everything, runs to inform the people about what happened. Leila and Nadir, hugging each other, sing about their deliverance, about the happiness awaiting them mutual love, which bound them with inextricable bonds. Zurga, seeing how happy Leila and Nadir are, how they love each other, says that he is ready to die to save them, and advises them to immediately run away before morning comes. While Nadir and Leila are running away along the path Zurga indicated to them to the right, Nurabad and the people behind him burst onto the stage from the left. Nurabad points out to the people Zurgu as a traitor, who, in order to save criminals from execution, deliberately started this fire, which is now destroying their forest, pastures and fields, and demands retribution for him. The people condemn him to death, rush to him and forcefully drag him to the fire. Zurga, already standing in the flames of the fire and saying goodbye to life, says that she is giving her life for Leila. The fire is burning. The fire in the forest is still flaring up, and the glow is increasing. In the distance you can see a grandiose picture of a burning forest.

“The Pearl Seekers” (Les pêcheurs de perles) is an opera by Georges Bizet in three acts, based on a libretto by E. Cormon and Michel Carré. Not as popular as Bizet's later opera Carmen, it is nevertheless very melodically good and popular.

Characters:

Nadir, young hunter (tenor)

Zurga, his friend, tribal leader (baritone)

Nurabad, tribal priest (bass)

Leila (soprano)

Villagers, pearl divers

The action takes place on the island of Ceylon (Sri Lanka).

History of creation

Even during his stay in Italy after receiving the Rome Prize, Bizet dreamed of writing an opera, but was afraid of meeting with librettists, actors and especially theater directors who did not want to deal with one-act operas, the right to stage which were granted to the winners of the Rome Prize. He himself did not want to write a one-act opera, as he dreamed of making his debut with a full-night performance. However, the Comic Opera Theater ordered him a one-act opera “Guzla Emir”, which Bizet wrote in 1861 and presented to the theater, but soon took the score back. And then I introduced myself rare case, exactly what he dreamed of: in 1862, the Lyric Theater, due to a number of conditions, found itself obliged to stage one opera by a young domestic author. The choice of Leon Carvalho, who was at the head of the theater, fell on Bizet, whose talent was experienced and interested in the fate of French art the impresario sincerely believed.

Georges Bizet

Bizet received a libretto for the three-act opera The Pearl Fishers, written by the prolific playwright Pierre Etienne Carmont (1811-1903), the author of more than a hundred plays - dramas, vaudevilles and librettos - who usually worked almost always in collaboration. This time his co-author was the experienced librettist Michel Carré (1819-1872), one of the authors of the libretto of Gounod's Faust. The oriental plot of the opera was quite in line with French art of that time: Victor Hugo created “Oriental Poems”, Eugene Delacroix - “Algerian Etudes”, Félicien David - the ode-symphony “The Desert”, the opera “Lalla Rook”. Just a year after The Pearl Fishers, Meyerbeer completed his African Woman, Gounod The Queen of Sheba, Massenet The King of Lagorsk, Saint-Saëns Samson and Delilah, Delibes Lakmé and others. Bizet's opera is among those works that open this list. Its action takes place on the island of Ceylon, among pearl divers.

Eugene Delacroix "Algerian women in their rooms." 1834

The premiere of The Pearl Fishers took place on September 30, 1863 on the stage of the Paris Lyric Theater and went very well. The author, who had not yet reached 25 years of age, was warmly welcomed by the public, who demanded a composer in addition to the singers. Some critics reproached the composer for “harmonic oddities” and found imitation of David and Wagner in the score. However, Berlioz wrote about “The Pearl Fishers”: “The score of this opera<... >contains a significant number of beautiful expressive passages, full of fire and rich color<...>does M. Bizet the greatest honor...

La Fenice Theater (Venice), 2004

Conductor - Marcello Viotti

Director - Pier Luigi Pizzi

Annick Massis

Luca Grassi

Chorus and Orchestra of La Fenice Theater

Plot

Island of Ceylon. Residents of the coastal village choose the brave Zurga, everyone's favorite, as their leader. He will be the head of the tribe during the pearl fishing, which is scheduled to begin today. After long wanderings, the young hunter Nadir returns home. Zurga, who has been friends with him since childhood, urges him to forget the old disagreement and its cause - the beauty they once met in the temple. The love that flared up in both in a single moment made friends enemies. But the beauty disappeared into obscurity and now nothing should separate them. A boat approaches the shore: according to an old custom, a girl is being brought from distant lands who will pray for the pearl divers while they are busy with their dangerous fishery. This is Leila. Her face is covered with a veil: no one should see her. The villagers joyfully greet the young priestess. Leila vows to protect the pearl divers with her singing from evil spirits, not to lift the veils from her face, and not to know love. Zurga promises her the best pearls from the catch, but threatens her with death for betraying her oath. Suddenly Leila notices Nadir, and her hand begins to tremble - she fell in love with this young man when she first saw him in the temple - but firmly repeats her promise. Nadir is also excited; it seems to him that he recognized the voice of the one who conquered him.

The night is ending. Nurabad comes to Leila on the rock and reports that the girl can rest: the rock is almost impregnable, the guards are nearby, and nothing threatens her if the vow is kept. Leila tells him that she once faced death, but she kept her vow. She was a child when she hid in her hut a fugitive who was fleeing from the villains who were pursuing him. As a parting gift, he gave her a necklace, which she carefully keeps. Nurabad leaves her. Nadir climbs the rock. He begs not to drive him away, to answer his love. Suddenly the lovers’ privacy is violated by Nurabad. He calls the people together and denounces the criminals. There will be no mercy for them! Zurga, using her power, wants to save them, but Nurabad demands that the priestess, who broke her vow, reveal her face. Zurga, seeing the one he passionately loves, succumbs to a feeling of revenge: Nadir and Leila must die. A terrible storm breaks out. Everyone calls out to Brahma in despair.

The storm subsides. Zurga finds no relief from the fact that he condemned his friend to death. Leila comes to pray for her beloved: only she broke her vow, Nadir is innocent. Her pleas again kindle Zurg's hatred of his happy rival. He confesses his love to Leila, but hears curses in response. Nurabad appears to lead the priestess who has broken her vow to execution. Leila takes out a necklace from the folds of her clothing and hands it to the young fisherman with a request to take it to her mother. She is taken away. Seeing the necklace, Zurga snatches it from the fisherman’s hands and hurries after Leila.

On the ocean shore, the people wait for dawn to satisfy the wrath of heaven with a bloody sacrifice. Nurabad welcomes the lightning, which marks the hour of revenge, but Zurga runs in and shouts that the fire, which was sent in anger by the gods, has engulfed the fields, forest and dwellings. Everyone rushes to save children and property. Zurga confesses to Nadir and Leila about setting the village on fire: he did it to give them the opportunity to escape. By the necklace, he recognized the one who once saved him, and now he is ready to give his life for her. Nurabad, who heard everything, returns with an angry crowd. Nadir and Leila manage to escape, Zurga is grabbed and thrown into the fire.

Music

"Pearl Finders" is a work of fresh and bright talent. Having overcome the traditional conventions of situations and characters in the libretto, Bizet managed to outline the individuality of the main characters in music, give exotic ritual and everyday scenes emotional strength and brightness of color, and capture the dreamy poetry of the nature of the East. The melodies of “Pearl Seekers” impress with their beauty and plasticity. The best of them serve as decoration for concert programs.

The first act is preceded by a small orchestral prelude, set in a smoothly swaying waltz rhythm. The opening scene is framed by the chorus “On the Shore of Gold,” which accompanies the dances of the catchers; mysteriously muffled, with monotonous repetitions of phrases, it is temporarily enlivened by the heroic melody “Forward, to the bottom of the sea” (male choir). In the center of the stage is Nadir’s first story, “Across the steppes, dense forests,” courageous, marked by the freshness of melody. The duet-memory of Nadir and Zurga “And there, among the flowers” is full of enthusiastic feeling; a smooth melody in an oriental spirit sounds against the backdrop of a magically transparent orchestral accompaniment. Leila's appearance is prepared by an orchestral prelude; the chorus “Hello to you, maiden” is sustained in light dance movement. Marked by the tenderness of color and southern softness of colors famous romance Nadir "In the radiance of a moonlit night." The act concludes with Leila’s prayer “Brahma the Almighty”; the singer's light patterned roulades are accompanied by the muted accompaniment of the choir; sounds against the same background secret dialogue Leila and Nadir.

The most striking number of the opera - famous romance Nadira from Act I “In the radiance of the moonlit night I heard you”, full of poetry, with a wide and flexible melody. (The video begins after a minute and a half recitative. Performed by Alfredo Kraus)

The second act opens with the off-stage chorus “Night is falling”; its original lively light melody is emphasized by the dance accompaniment of the bass; the orchestra is silent, the stanzas are separated by the roulades of two piccolos. This chorus frames Leila’s recitative scene with Nurabad and Leila’s story “I Was a Child.” Leila’s recitative and cavatina “Night has come, I am alone” - a cantilena full of inner jubilation - gives way to Nadir’s distant song “My dove fell asleep sweetly”; its richly ornamented melody is accompanied only by harp chords. At the beginning of the duet “But how did you decide”, short hasty remarks are interspersed with excitedly intermittent phrases of the orchestra; then the voices merge in a passionate impulse. The stormy finale of the act begins with the chorus “Whose voice calls to us.”

The third act is preceded by a symphonic picture of a thunderstorm. Zurga's recitative and aria are imbued with drama; when Nadir’s name is mentioned in the orchestra, echoes of his romance from the first act arise. A prominent contrast is inherent in the duet scene of Leila and Zurga; hot pleas are contrasted with short, unyielding remarks.

At the beginning of the second scene of the third act there is an orchestral episode of a dark whirlwind dance, then the chorus “As soon as the dawn flashes in the heavens” is superimposed on it with frantic cries of “Brahma!”, The music conveys growing rage. The central number of the picture is the terzetto “Here is a moment of admiration,” where the exalted and enthusiastic melodies of Leila and Nadir are answered by the courageously stern phrases of Zurga. The final chorus “The fire is already burning, the victim is waiting” is a repetition of the initial chorus.

M. Druskin

Small bonus):

Paul Mauriat - The Pearl Fishers

He was a young and little-known composer. True, he had the operetta “Doctor Miracle”, which was awarded the Rome Prize, but in the obligatory reporting work that followed it - the opera “Don Procopio” - he was still trying to “find his voice”. The next opera, “Love the Artist” by J.B. Molière, was not completed, and the composer himself took the score of the opera “Guzla Emir” created in 1961 from the Opera Comic Theater...

The chance for a real operatic debut presented itself in 1863. L. Carvalho, who headed the Lyric Theater at that time, sought to collaborate with talented contemporary composers. On the recommendation of the famous vocal teacher F. Delsarte, he draws attention to J. Bizet and invites him to create an opera in collaboration with Michel Cormon and Eugene Carré. These were very experienced librettists - in particular, M. Cormon created more than two hundred librettos and plays. Relations with E. Carré were somewhat complicated unpleasant story from the opera “Guzla Emir”, one of the authors of the libretto of which he was, but still the composer managed to find mutual language with both playwrights.

The plot proposed by the librettists was very traditional: a beautiful young priestess, who took a vow of chastity, breaks it “under the pressure” of all-consuming love - such a story was played out more than once on opera stage in the 19th century, just remember “The Vestal Virgin” by G. Spontini or ““. No less often did the conventionally exotic setting of distant countries appear on the opera stage - “African Woman” by J. Meyerbeer, “Lakmé” by L. Delibes, “The King of Lahore” by J. Massenet, “The Queen of Sheba” by C. Gounod... The history of violating the vow of virginity, complicated love triangle, according to the librettists’ original plan, it was supposed to take place in Mexico, where the hero was supposed to hunt jaguars in the savannah, and the heroine was supposed to save him from a wild horde, but then the choice was made on the island of Ceylon, and people from a tribe of pearl hunters became the heroes. They believe that the singing of the priestess - a virgin unattainable in her purity - can protect them from the dangers of the sea...

The librettists, who remembered the situation with the previous opera by J. Bizet, warned the young composer that if he allowed himself something like that again, not a single playwright would write a single line for him, and it was impossible to refuse the proposed plot. And yet the composer could not help but feel some of its conventionality - in particular, J. Bizet did not like the original ending: the death of the lovers in the fire seemed too traditional, if not a hackneyed plot device. The happy rescue of Nadir and Leila that followed thanks to the unexpected nobility of Zurga may have seemed artificial, but at least it did not look like a repetition of the finale.

The conventionality of the plot is overcome by the music of J. Bizet. The exotic background of the action becomes the basis musical paintings nature - a prelude in the opera with its calmly swaying rhythm, drawing seascape, a picture of a thunderstorm that precedes the third act. The choral scenes are no less colorful - the chorus “On the Golden Shore”, which accompanies the dances of the pearl divers in the first act, the lively chorus “Already the night is coming”, sounding offstage in the second act, the frenzied chorus “As soon as the dawn flashes in the sky” in the third act... Against this background, the individually written characters of the central characters, an expressive touch to which becomes oriental flavor melodies - in particular, the duet of Nadir and Zurga. The melody of Nadir's romance, which has become one of the most popular fragments of the opera, is truly beautiful.

Critics saw features of “Wagnerism” in the opera “The Pearl Fishers” - and it was not only about the unusual sharpness of the harmony, but also about the use of leitmotifs. Indeed, the composer uses this technique of operatic dramaturgy. Leila is accompanied by two leitmotifs - and this reflects one of the main dramatic conflicts: one of the themes arises at the moment when the priest Nurabad introduces her to the people - it is connected with the image of Leila the priestess, with the duty to which she must be faithful. Another theme - sublime and charming - first appears in the orchestra when Nadir and Zurga remember their meeting with the young priestess who once ignited passion in their hearts (the gradual subordination of their remarks to this melody makes one doubt the words of the heroes who claim that this feeling forgotten by them) - this theme characterizes the loving Leila, who has given herself over to a forbidden feeling.

The premiere of the opera The Pearl Fishers, which took place at the end of September 1863, was a very modest success. Critics also reacted rather coldly to the new creation of the young composer - he was reproached for imitating Halévy, for being carried away by the “violent effects overheard from” - only G. Berlioz wrote a laudatory article about the opera, noting “expressive moments” filled with “fire and rich coloring” .

Subsequently, the opera “Pearl Finders” became firmly established in opera repertoire, although it is inferior in popularity to the last work of J. Bizet in the operatic genre - “”.

Musical Seasons