There seemed to be some hesitancy in the chorus a couple of times in the first act and the orchestra didn’t always gel together, but, all in all, the sound was very satisfying. Perhaps the orchestra, under the baton of conductor Gerard Schwarz, could have played more softly for some of the singers. Feigum also needed more power when he was not at the front of the stage.īass Patrick Carfizzi’s Nourabad, the high priest, did have plenty of vocal heft (except for the lowest notes) and had no problem invoking wrath. However, a more menacing tone in his voice would’ve helped in the scenes when he had to threaten and demand. His singing of the demanding aria “Je crois entendre encore” with its exposed high As, Bs, and Cs faded too much at the end.Ĭhristopher Feigum cut a striking figure as Zurga, the chief of the fishing community, and his gorgeous baritone was a pleasure to hear. Whether she feathered her prayers to the heavens, found joy in her lover’s embrace or spilled venom on the head of a powerful man who wants her, Dunleavy can do it all and make it look natural.Īs Nadir, the hunter and lover of Leïla, tenor William Burden sang with grace and conviction, but needed more volume when he sang from the back of the stage. Dunleavy’s voice has an expansive palette colors that heighten the emotion whenever she sang. But the outstanding acting, scenery, choreography, and singing by soprano Mary Dunleavy, who was making her debut with Seattle Opera gave this production plenty of enchantment.ĭunleavy, was exceptional in the role of Leïla, the priestess who breaks her vow of celibacy because she falls in love. Some unsure entrances and some moments when the orchestra overpowered the singers created a few rough spots that reduced the luster of this opera somewhat. Seattle Opera dove into the luxurious waters of Bizet’s “Pearl Fishers” on Saturday evening and came to the surface with a beautiful gem that needs just a little more polishing.