STUDY GUIDE

THE PEARL FISHERS

Music by

Georges Bizet
Libretto by

Eugne Cormon and Michel Carr

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2012-2013 SEASON
Virginia Opera thanks the following
sponsors for their generous support:

THE RICHARD S. REYNOLDS FOUNDATION

Preface
Purpose
This study guide is intended to aid you, the teacher, in increasing your students
understanding and appreciation of THE PEARL FISHERS. This will not only add to
knowledge about opera, but should develop awareness of other related subjects, making
the performance they attend much more enjoyable.

Most Important
If you only have a limited amount of time, concentrate on the cast of characters, the plot
and some of the musical and dramatic highlights of the opera. Recognition produces
familiarity which in turn produces a positive experience.

The Language
The Virginia Opera will perform THE PEARL FISHERS in the original language,
French, but an English translation will be projected on a screen above the stage. With
these Supertitles, audiences can experience the beauty of opera in the original language,
yet still understand the meaning of all that is being sung.

Table of Contents

Cast of Characters/Brief Summary

Full Plot Synopsis and Musical Highlights

Historical and Literary Background

About the Composer

10

A Short History of Opera

11

The Operatic Voice

13

Opera Production

15

Discussion Questions

17

Opera Etiquette

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Cast of Characters
ZURGA, the head fisherman ...Baritone
NADIR, Zurgas old friend ................................................................... Tenor
LEILA, a priestess of Brahma........................................................... Soprano
NOURABAD, the high priest of Brahma ................................. Bass
Fishermen, Villagers, Brahmins Chorus

Brief Summary
Ceylonese fishermen are gathered to prepare for a pearl-fishing expedition. The
men choose Zurga as their leader. He is overjoyed when Nadir appears in the village. As
the two men talk of the past, Zurga asks Nadir if he has been faithful to their vow of
renouncing the love of a beautiful woman they both desired. Nadir says yes, but has
secretly kept her memory close to his heart.
A boat arrives carrying a veiled priestess, Leila. She has come to pray for the
fishermen as they leave for their annual quest for pearls. When Nadir sees her he cries
out, catching her attention. It is clear she remembers him. She continues with the
ceremony, reaffirming her vow of chastity and entering the temple with the high priest.
Left alone, Nadir confesses that he dreams of Leila and followed her.
Leila prepares for her sacred vigil. To prove she is steadfast and brave she tells
Nourabad about a stranger she once saved from capture. In return he gave her a necklace
to wear in remembrance. Nourabad departs and Nadir appears in the temple. Leila loves
him but fears discovery and urges him to leave. Nadir tries to slip away but is caught. The
local people are enraged at this violation of the sacred vigil and want to kill both Leila
and Nadir. Zurga calms the crowd but Nourabad steps in and tears away Leilas veil.
Zurga recognizes her as the woman he and Nadir both loved but renounced. He is
enraged by this betrayal and condemns them to death.
Leila asks Zurga to save Nadir. Resigned by his refusal, Leila gives her necklace
to a fisherman asking him to give it to her mother. Zurga sees this and snatches the
necklace from the fishermans hand. At dawn, the lovers prepare for death. Before the
execution begins Zurga alerts Nourabad and the villagers that their camp is on fire. As
the men rush off to fight the flames, Zurga frees Leila and Nadir. He tells them he set the
fire. He shows the necklace to Leila, proving that he was the stranger she saved. They all
embrace and Zurga sends the lovers off to freedom.

Premiere: September 30, 1863, at the Thtre Lyrique in Paris, France.

THE PEARL FISHERS

Full Plot Synopsis and Musical Highlights
Act I
A brief, tranquil prelude reveals a seashore scene on the island of Ceylon. The
local fishermen are relaxing prior to their annual pearl fishing expedition. They sing the
chorus, Sur la grve en feu (Over the shore on fire), which contains a memorable
middle section for mens voices. Zurga, the head fisherman, reminds the men that they
must choose a leader. The men choose Zurga. A new man arrives, one who is known to
Zurga. It is Nadir, a former friend whom Zurga has not seen for a while. Nadir has been
wandering in the forest for the past year and is welcomed warmly by Zurga as the festive
scene of dancing and drinking concludes the scene.
Zurga and Nadir have been left alone and they reminisce about the past. Zurga
asks if Nadir has kept his vow. In a stirring duet, Au fond du temple saint (At the back
of the holy temple), the two men recall the beautiful girl they both were bedazzled by and
how they vowed to place their friendship above their yearnings and renounce her and the
desire they felt. The musical accompaniment features the flute and the harp, an
instrumental combination that was used to symbolize sanctity in French opera during this
period. The duet also introduces an important musical theme as the men relive the
moment they first saw the entrancing woman. They sing the words, Oui, cest elle,
(Yes, it is she), Cest desse! (It is the goddess) accompanied by the flute. The theme
represents Leila.
A boat arrives bringing a veiled woman and the high priest Nourabad to the
village to pray for the success of the upcoming expedition and the safety of the
fishermen. The woman is Leila. Music from the Prelude accompanies her arrival
followed by Leilas theme in the orchestra. The chorus welcomes her but neither Zurga
nor Nadir is aware of her identity. Zurga asks her three questions, each one intoned
higher by the interval of a minor third. Leila reaffirms her vow of chastity, responding to
his questions by saying, Je le jure (I promise). Nadir and Leila have recognized each
other, but the ceremony continues. As Leila is led into the temple the chorus sings a
hymn to Brahma.
Nadir is left alone and sings an aria called a romance, Je crois entendre encore
(I think I hear her still) where he reveals that he dreams of Leila and has followed her to
the village. The solo oboe is featured and the range of the romance is very high. Nadirs
distress is demonstrated musically by his completion of the piece on an unresolved note.
He goes to sleep leaving the English horn to resolve the harmony and conclude the aria.
This is an example of the young Bizets innovative approach.
Leila begins her prayers to Siva. Her voice is heard above the chanting of the
chorus as her invocation becomes increasingly florid and ornamented. Nadir is awakened
by Leilas voice. When she hears Nadirs voice from outside the temple, she pulls aside
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her veil. Their words mingle and become a declaration of love. Musically, Leila and
Nadir are supported by the chorus of villagers and fishermen, who continue their
invocation to Brahma. The resulting ensemble provides a passionate conclusion to Act I.

Act II
An off-stage choral chant begins Act II. Nourabad tells Leila she can stop praying and
rest. He reminds her of her vows and asks if she feels any fear. In a dramatic recitative
Leila relates a story from years earlier when she placed her own life at risk to protect a
man who was fleeing for his life. In return the man gave her a necklace and told her to
wear it in remembrance. She tells Nourabad that she will be no less brave at this time
than she was when she saved the mans life. Reassured, Nourabad leaves, and the offstage choral concludes the scene.
Left alone, Leila reassures herself that Nadir is nearby in a recitative and short
aria (cavatina), Comme autrefois dans la nuit sombre (In the dark night, as in days
gone by). A solo oboe is heard, a musical reminder of Nadirs earlier romance. Nadirs
voice is heard as he approaches the temple and then he appears. The pair excitedly greets
one another and sings a duet, Ton coeur na pas compris le mien (Your heart hasnt
understood my own). Leila is very fearful that Nadir might be seen with her and she
implores him to leave. He agrees to leave and return the next night. Just after he departs
a shot is heard. Nourabad summons the guards and they pursue the intruder.
The villagers and fishermen are aroused and fearful. The sound of an
approaching storm adds to their frightened reaction. They sing a brief but imposing
chorus reflecting great distress. Nadir is brought before them by Nourabad. He tells
them of the violation of the sacred vigil and accuses both Nadir and Leila of betrayal.
The crowd reacts with fury and is ready to kill them both on the spot. Leila cries out in
fear, but Nadir steps in front of her, ready to defend her life with his own. At the critical
moment Zurga steps in and stops the crowd. He forces them to obey him. He is about to
let the pair leave when Nourabad insists that Leila reveal herself to all. When Zurga sees
her face he is thunderstruck and then enraged. He curses the pair and asks the crowd to
avenge him. As Leila and Nadir are led away, everyone falls on their knees fearful of the
consequences of this sacrilege. As the act ends, all pray to Brahma for protection,
terrified that his wrath will fall on their heads.

Act III
Zurga sits alone in his tent filled with desolation and thinking of Nadir in the aria,
O Nadir, tender ami de mon jeune ge (Oh! Nadir, tender friend of my youth). He
struggles with his decision to condemn Nadir to death, and allowing his jealousy and rage
to rule him. Leila is escorted into his tent. The flute plays her theme and carries the
melodic line while Leila sings above the melody joining it only on some of the notes,
another example of composer Bizets early innovations. Zurga and Leila sing a duet as
she explains why Nadirs life should be saved and Zurga responds, positively at first, but
increasingly hostile. Leila meets with failure when Zurgas anger and jealousy are
aroused upon her declaration of love for Nadir. He refuses to stop the execution and tells
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her that she and Nadir can be united in death. Nourabad leads Leila away as her theme is
heard from the orchestra at a very slow tempo. She removes her necklace and hands it to
one of the fishermen, asking him to give it to her mother. Zurga observes her actions
and, with a startled cry, takes the necklace from the young fisherman as the scene ends.
The final scene opens with the chorus of villagers and fishermen eagerly
anticipating the coming execution. They are dancing around the pyre that has been
erected and sing of their desire to strike with their daggers. Nadir is tied near the pyre
awaiting the arrival of Leila. When Leila is brought in the tone becomes more somber.
Nadir and Leila sing a hymn-like duet, O lumire sainte, divine treinte (Oh sacred
light, oh divine embrace), as they accept their coming death with grace and dignity.
A red glow appears and Nourabad and the men believe it is dawn. As they raise
their daggers Zurga appears and stops them. He tells them it is not dawn but a fire that is
consuming their camp! He urges them to run and save their children. The crowd rushes
out leaving Zurga, Nadir and Leila alone. Zurga releases their bonds and tells them he set
the fire. He shows the necklace to Leila and reveals that he was the fugitive she saved so
many years before. Now he wishes to save them both in return.
Nadir and Leila cry out and rush to embrace him. Zurga urges them to go quickly
while there is time. Nadir asks, Et toi, Zurga? (And you, Zurga?). Zurga replies,
Dieu seul sait lavenir (God alone knows the future). He watches calmly as the
overjoyed couple leave together. Zurga remains there, standing alone, awaiting his fate.

THE PEARL FISHERS

Historical Background
France was the operatic capital of Europe during the first half of the nineteenth
century. In general French operas fell into two categories, one with serious and heroic
subject matter called grand opera and a second, less serious and more melodramatic, called
opera comique. Grand opera had sung dialogue called recitative, and a grandiose treatment
of its subject with regard to singing, instrumental music and staging. Opera comique had
spoken dialogue in between the musical numbers and included operettas, romantic
comedies, and rescue and horror operas. A third form of French opera evolved out of
the opera comique genre to fill in the middle ground between these two categories. It
became known as French lyric opera. The French composers most associated with Lyric
opera before 1870 were Charles Gounod and Ambroise Thomas. Lyric opera reflected the
desire of composers to express more serious, introspective themes within the less serious
format of opera comique. In all forms of French opera the French language and fidelity to
the text played a key role. The libretto, faithfully and economically expressed through
music, was of paramount importance.
Georges Bizet was a student of Charles Gounod and had written several operas by
the time he was twenty-four. THE PEARL FISHERS was the second one to be staged and is
very reminiscent of Gounods lyric opera style. Bizet originally wrote THE PEARL
FISHERS with spoken dialogue but added sung recitatives before the opera opened. The
subject matter reflected the contemporary French publics fascination with the East and
exoticism. Composers used the elements of rhythm, harmony, melody and instrumentation
to evoke distant lands and cultures. Exotic-sounding music or the musical treatment of an
Eastern theme or locale was very popular with opera audiences. The setting for Bizets
opera was the island of Ceylon (now called Sri Lanka). The original setting of the opera had
been Mexico. Eastern or Asian cultures collectively were known as the Orient. The
depiction of Eastern cultures in art, literature and music came to be known as Orientalism.
THE PEARL FISHERS was well received by the public who recognized Bizets gifts
and his lyrical, harmonic and orchestral abilities. The critics were dismissive of his talent
and seemed particularly incensed that Bizet took a curtain call on opening night. The one
critic who treated Bizets work with high regard was the composer Hector Berlioz. The
opera enjoyed eighteen performances in 1863 but then was not performed again until long
after Bizets death. It was the success of Bizets most famous opera, Carmen, that renewed
interest in THE PEARL FISHERS. A revival of the opera took place in 1893 at the Opera
Comique theater, some thirty years after its original premiere. In performances over a
period of years, dissatisfaction with the conclusion of the opera resulted in productions with
a variety of endings. Additional alterations were made to various parts of the musical score.
However, in 1975 an original vocal score of the opera was uncovered. This
discovery provided clarity on Bizets original intent and generated a desire to stage the opera
as Bizet wrote it. Since that time the strength of Bizets composition and its strong roles for
soprano, tenor and baritone has delighted audiences worldwide and propelled THE PEARL
FISHERS into a standard part of the operatic repertory.

ABOUT THE COMPOSER: GEORGES BIZET

Georges Bizet, born October 25, 1838, was named Alexandre
Csar Lopold Bizet. However, he was christened Georges and that
became the name he used. He was born into a musical family. His father,
Adolphe Bizet, was a voice teacher. His mother came from a famous
musical family and was an excellent pianist. It was unsurprising when
Georges was admitted to the Paris Conservatory at the age of nine. He
quickly rose to prominence in the school. His most important teacher was
Jacques Halvy, who taught Charles Gounod, and was a distinguished
opera composer. Bizet was also mentored by Gounod. In 1857 Bizet won
the coveted Prix de Rome, a competition founded in 1666 by Louis XIV. Other famous
Prix winners were Berlioz, Massenet, Gounod and Debussy.
Bizet departed for Rome and spent three years studying the musical scores of the
great masters, and Italian literature, art and culture. At the end of the first year he was
asked to submit a religious work as a progress report. As a self-described atheist, Bizet
felt uneasy and hypocritical writing a religious piece. Instead, he submitted a comic
opera. Publicly, the committee accepted, and acknowledged his musical talent.
Privately, the committee conveyed their displeasure. By his action Bizet revealed an
independence that would be symbolized later on by innovative ideas in his operas.
When Bizet returned to Paris and became self-supporting, he composed, gave
piano lessons, produced orchestrations and piano transcriptions and wrote operas.
Financially, he found his chosen profession "a splendid art, but a sad trade." His operas
met with limited financial success but gained him stature as a talented composer with
great promise. Among these early operas was THE PEARL FISHERS. In 1867 he became
engaged to Gnevive Halvy, the daughter of his former teacher at the Paris
Conservatory and the noted composer of La Juive. The family of Bizets mother objected
to the marriage because the family was Jewish and the Halvy family objected because of
Bizets atheism, bohemian lifestyle and financial irresponsibility. The marriage took
place in 1869 but it was not destined to be a happy one. A son was born in 1872.
During this time Bizet was commissioned to write a three-act opera by the OperaComique. He chose the novel Carmen by Prosper Mrime as the source for the opera.
The management of the Comique was very unhappy with the subject matter. Unfazed by
their concerns, Bizet wrote an opera that captured the exoticism and flair of Spain while
remaining true to his lyrical French roots. His brilliant orchestration and originality
brought a new dimension to the operatic stage. But Bizet was a man ahead of his time.
The subject matter was more realistic and shocking than many opera audiences could
accept.
On March 3, 1875, the opera had its premiere but was deemed a colossal
failure. Bizet retired to his country estate where his health failed. He died at the age of
thirty-six on June 3, 1875, three months to the day of the operas premiere.
Coincidentally, it was also his sixth wedding anniversary. Four thousand people attended
his funeral, and Charles Gounod served as one of the pallbearers. Today the opera
Carmen is considered a masterpiece and has become one of the most popular and
successful operas in history.
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A Short History of Opera

The word opera is the plural form of the Latin word opus, which translates quite literally as
work. The use of the plural form alludes to the plurality of art forms that combine to create
an operatic performance. Today we accept the word opera as a reference to a theatrically
based musical art form in which the drama is propelled by the sung declamation of text
accompanied by a full symphony orchestra.
Opera as an art form can claim its origin with the inclusion of incidental music that was
performed during the tragedies and comedies popular during ancient Greek times. The
tradition of including music as an integral part of theatrical activities expanded in Roman
times and continued throughout the Middle Ages. Surviving examples of liturgical dramas
and vernacular plays from Medieval times show the use of music as an insignificant part of
the action as do the vast mystery and morality plays of the 15th and 16th centuries.
Traditional view holds that the first completely sung musical drama (or opera) developed as
a result of discussions held in Florence in the 1570s by an informal academy known as the
Camerata which led to the musical setting of Rinuccinis drama, Dafne, by composer, Jacopo
Peri in 1597.
The work of such early Italian masters as Giulio Caccini and Claudio Monteverdi led to the
development of a through-composed musical entertainment comprised of recitative
sections (secco and accompagnato) which revealed the plot of the drama; followed by da
capo arias which provided the soloist an opportunity to develop the emotions of the
character. The function of the chorus in these early works mirrored that of the character of
the same name found in Greek drama. The new form was greeted favorably by the public
and quickly became a popular entertainment.
Opera has flourished throughout the world as a vehicle for the expression of the full range
of human emotions. Italians claim the art form as their own, retaining dominance in the
field through the death of Giacomo Puccini in 1924. Rossini, Bellini, Donizetti, Verdi, and
Leoncavallo developed the art form through clearly defined periods that produced opera
buffa, opera seria, bel canto, and verismo. The Austrian Mozart also wrote operas in
Italian and championed the singspiel (sing play), which combined the spoken word with
music, a form also used by Beethoven in his only opera, Fidelio. Bizet (Carmen), Offenbach
(Les Contes dHoffmann), Gounod (Faust), and Meyerbeer (Les Huguenots) led the adaptation by
the French which ranged from the opera comique to the grand full-scale tragedie lyrique.
German composers von Weber (Der Freischtz), Richard Strauss (Ariadne auf Naxos), and
Wagner (Der Ring des Nibelungen) developed diverse forms such as singspiel to throughcomposed spectacles unified through the use of the leitmotif. The English ballad opera,
Spanish zarzuela and Viennese operetta helped to establish opera as a form of
entertainment which continues to enjoy great popularity throughout the world.

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With the beginning of the 20th century, composers in America diverged from European
traditions in order to focus on their own roots while exploring and developing the vast body
of the countrys folk music and legends. Composers such as Aaron Copland, Douglas
Moore, Carlisle Floyd, Howard Hanson, and Robert Ward have all crafted operas that have
been presented throughout the world to great success. Today, composers John Adams,
Philip Glass, and John Corigliano enjoy success both at home and abroad and are credited
with the infusion of new life into an art form which continues to evolve even as it
approaches its fifth century.

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The Operatic
Voice
A true (and brief) definition of the operatic voice is a difficult
proposition. Many believe the voice is born, while just as
many hold to the belief that the voice is trained. The truth lies
somewhere between the two. Voices that can sustain the demands required by the operatic
repertoire do have many things in common. First and foremost is a strong physical
technique that allows the singer to sustain long phrases through the control of both the
inhalation and exhalation of breath. Secondly, the voice (regardless of its size) must
maintain a resonance in both the head (mouth, sinuses) and chest cavities. The Italian word
squillo (squeal) is used to describe the brilliant tone required to penetrate the full
symphony orchestra that accompanies the singers. Finally, all voices are defined by both the
actual voice type and the selection of repertoire for which the voice is ideally suited.
Within the five major voice types (Soprano, Mezzo-Soprano, Tenor, Baritone, Bass)
there is a further delineation into categories (Coloratura, Lyric, Spinto, Dramatic) which
help to define each particular instrument. The Coloratura is the highest within each voice
type whose extended upper range is complimented by extreme flexibility. The Lyric is the
most common of the types. This instrument is recognized more for the exceptional
beauty of its tone rather than its power or range. The Spinto is a voice which combines the
beauty of a lyric with the weight and power of a Dramatic, which is the most powerful of
the voices. The Dramatic instrument is characterized by the combination of both
incredible volume and steely intensity.
While the definition presented in the preceding paragraph may seem clearly outlined, many
voices combine qualities from each category, thus carving an unique niche in operatic
history. Just as each person is different from the next, so is each voice. Throughout her
career Maria Callas defied categorization as she performed and recorded roles associated
with each category in the soprano voice type. Joan Sutherland as well can be heard in
recordings of soprano roles as diverse as the coloratura Gilda in Rigoletto to the dramatic
Turandot in Turandot. Below is a very brief outline of voice types and categories with roles
usually associated with the individual voice type.

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Coloratura

Lyric

Spinto

Dramatic

Soprano

Norina (Don Pasquale)

Gilda (Rigoletto)
Lucia (Lucia di Lammermoor)

Liu (Turandot)
Mimi (La Bohme)
Pamina (Magic Flute)

Tosca (Tosca)
Amelia (A Masked Ball)
Leonora (Il Trovatore)

Turandot (Turandot)
Norma (Norma)
Elektra (Elektra)

MezzoSoprano

Rosina (Barber of Seville)

Angelina (La Cenerentola)
Dorabella (Cos fan tutte)

Carmen (Carmen)
Charlotte (Werther)
Giulietta (Hoffmann)

Santuzza (Cavalleria)
Adalgisa (Norma)
The Composer (Ariadne auf
Naxos)

Azucena (Il Trovatore)

Ulrica (A Masked Ball)
Herodias (Salome)

Tenor

Count Almaviva (Barber of Seville)

Don Ottavio (Don Giovanni)
Ferrando (Cos fan tutte)

Alfredo (La Traviata)

Rodolfo (La Bohme)
Tamino (Magic Flute)

Calaf (Turandot)
Pollione (Norma)
Cavaradossi (Tosca)

Dick Johnson (Fanciulla)

Don Jose (Carmen)
Otello (Otello)

Baritone

Figaro (Barber of Seville)

Count Almavira (Le nozze di Figaro)
Dr. Malatesta (Don Pasquale)

Marcello (La Bohme)

Don Giovanni (Don
Giovanni)
Sharpless (Madama
Butterfly)

Verdi Baritone

Scarpia (Tosca)
Jochanaan (Salome)
Jack Rance (Fanciulla)

Bass

Bartolo (Barber of Seville)

Don Magnifico (Cenerentola)
Dr. Dulcamara (Elixir of Love)

Leporello (Don Giovanni)

Colline (La Bohme)
Figaro (Marriage of Figaro)

Buffo Bass

Basso Cantate

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Germont (La Traviata)

Di Luna (Il Trovatore)
Rigoletto (Rigoletto)

Don Pasquale (Don

Pasquale)
Don Alfonso (Cos fan tutte)

Oroveso (Norma)
Timur (Turandot)
Sarastro (Magic Flute)

Opera Production
Opera is created by the combination of myriad art forms. First and foremost are the actors
who portray characters by revealing their thoughts and emotions through the singing voice.
The next very important component is a full symphony orchestra that accompanies the
singing actors and actresses, helping them to portray the full range of emotions possible in
the operatic format. The orchestra performs in an area in front of the singers called the
orchestra pit while the singers perform on the open area called the stage. Wigs, costumes,
sets and specialized lighting further enhance these performances, all of which are designed,
created, and executed by a team of highly trained artisans.
The creation of an opera begins with a dramatic scenario crafted by a
playwright or dramaturg who alone or with a librettist fashions the script
or libretto that contains the words the artists will sing. Working in
tandem, the composer and librettist team up to create a cohesive musical
drama in which the music and words work together to express the
emotions revealed in the story. Following the completion of their work,
the composer and librettist entrust their new work to a conductor who
with a team of assistants (repetiteurs) assumes responsibility for the
musical preparation of the work. The conductor collaborates with a
stage director (responsible for the visual component) in order to bring a performance of the
new piece to life on the stage. The stage director and conductor form the creative spearhead
for the new composition while assembling a design team which will take charge of the actual
physical production.
Set designers, lighting designers, costume designers, wig and makeup designers and even
choreographers must all be brought on board to participate in the creation of the new
production. The set designer combines the skills of both an artist and an architect using
blueprint plans to design the actual physical set which will reside on the stage, recreating
the physical setting required by the storyline. These blueprints are turned over to a team of
carpenters who are specially trained in the art of stage carpentry. Following the actual
building of the set, painters following instructions from the set designers original plans paint
the set. As the set is assembled on the stage, the lighting designer works with a team of
electricians to throw light onto both the stage and the set in an atmospheric as well as
practical way. Using specialized lighting instruments, colored gels and a state of the art
computer, the designer along with the stage director create a lighting plot by writing
lighting cues which are stored in the computer and used during the actual performance of
the opera.
During this production period, the costume designer in consultation with the stage director
has designed appropriate clothing for the singing actors and actresses to wear. These
designs are fashioned into patterns and crafted by a team of highly skilled artisans called
cutters, stitchers, and sewers. Each costume is specially made for each singer using his/her
individual measurements. The wig and makeup designer, working with the costume

15

designer, designs and creates wigs which will complement both the costume and the singer
as well as represent historically accurate period fashions.
As the actual performance date approaches, rehearsals are held on the newly crafted set,
combined with costumes, lights, and orchestra in order to ensure a cohesive performance
that will be both dramatically and musically satisfying to the assembled audience.

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Discussion Questions
1.

How does one fish for pearls? Is this a dangerous job?

2.

What is the importance of the sacred prayer vigil to the fishermen?

3.
Would a disruption of the prayer vigil make the fishermen fearful? Would they
feel they might be in danger during their expedition?
4.

Discuss the importance of the relationship between Zurga and Nadir.

5.

What is the bond between the two friends?

6.

How does the composer Bizet express this relationship musically?

7.

How does this story reflect the traditional love triangle?

8.

Is there more than one rivalry in this triangle?

9.

Between which characters does a rivalry exist?

10.

What is the dilemma that Leila faces in Act II?

11.
Which relationship proves to be the stronger the one between Leila and Nadir,
the one between Nadir and Zurga, or the one between Leila and Zurga?
12.

What instrument do we associate with Leilas theme?

13.
How do you think Zurga feels after he frees Leila and Nadir and they depart,
leaving him alone?
14.
How might the fishermen treat Zurga when they returned from putting out the fire
in their camp and realized Nadir and Leila had been set free?
15.

Which character do you most respect?

16.
The composer, Bizet, was trying to achieve an exotic sound with his music.
Was he successful? How did he achieve his goal?

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Opera Etiquette at an opera performance

Before bringing a group to the Opera, please go over etiquette with your students to
ensure an enjoyable experience for all audience members.
What to Wear
Most people like to dress up when they go to the opera because it's part of the fun! Nowadays you can pretty much
wear whatever you want. However, an evening at the opera is usually considered to be a special occasion. We
encourage dressing in layers so bring a sweater, wrap or jacket just in case.
Arrive On Time
You should always make sure you get to the opera house in plenty of time to find parking, get your tickets and be
seated before the performance starts. Thirty minutes before start time (curtain) is usually sufficient. If you are late, the
ushers may let you in after the overture, but, if there is not an overture, you may have to wait until intermission and
miss the entire first act!
Remain Quiet during the Performance
There is nothing worse than sitting near a chatterbox, someone text messaging or a ringing cell phone during a
performance. Please turn off anything that can make noise or light. Save your comments for intermission and, by all
means, do not sing along! Remember recording devices, video and photography is not permitted of any Virginia Opera
performance.
Applaud When Appropriate
The correct times to applaud are when the conductor takes the podium at the very beginning of the performance, after
the overture, after a big aria, at the end of each act, and when the singers come out to take a bow. If you are unsure
when those times are, it is best to wait and follow the lead of other audience members.
Applaud Appropriately
Clapping while sitting or standing is always acceptable, and you can yell "Bravo!" to show appreciation for a male
singer, "Brava!" to show appreciation for a female singer, and "Bravi!" to show appreciation for a group of singers.
Yelling out anything other than those three words, as well as screaming or whistling, is inappropriate.

Why we follow these etiquette rules:

Because it is respectful to the performers and the theater to dress nicely.

Because its dangerous to try to step over people in the dark, and because its disrespectful to the performers
and the other audience members.

Because the performers really can hear the whispers from on stage, and other people are trying to watch.

Gum, candy, and drinks make noise that will distract the performers, and are not permitted in the theatre.

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