Talk:Les pêcheurs de perles

"Au fond du temple saint"

Since it is such a standard, is it worthwhile having a table of notable recordings of it alone? Varlaam (talk) 18:58, 27 July 2011 (UTC)

Expansion

I have begun an expansion of the article, in the hopes of bringing it to FA standard in due course. It will therefore have a somewht unbalanced look for a while, but the "Under construction" banner shouls alert readers to what's going on. As a first step I have posted an extended Performance history section. If anyone feels that there are historically important performances which I have failed to mention, can you please suggest them here, rather than just adding them to the article? Otherwise the section may grow and grow. Brianboulton (talk) 17:11, 10 November 2011 (UTC)

According to Loewenburg Annals of opera, Milan, Aix-les-Bains, Coburg, Lisbon saw productions in 1886, followed by Geneva, London (Covent Garden?), Barcelona, Brussels and Mexico in 1887. These were presumably prompted by the publication of the second (corrupt) vocal score in 1885 with Godard's trio (Dean comments on the score in Appendix F of his study).

Also I think it would be nice to mention the rather distinguished cast for the first Paris revival at the Théâtre de la Gaîté: Emma Calvé, (the first Hoffmann) Talazac, and (the first Don José, now a baritone), Lhérie; Calvé also appeared at the creation at the OC in 1893 (this is all from Wolff S. Un demi-siècle d'Opéra-Comique. André Bonne, Paris, 1953.).

I wonder if it has ever been performed in Ceylon/Sri Lanka?. Cg2p0B0u8m (talk) 16:56, 11 November 2011 (UTC)

Thanks. It was probably the increasing popularity of Carmen, as well as the Choudens publication, that caused the post-1886 flurry of interest in Les Pecheurs. I have incorporated more material, and have dug out a few details of the first (and as far as I know, only) performance in Sri Lanka. Brianboulton (talk) 12:15, 12 November 2011 (UTC)

File:Pearl-Fishers-Paris-1863.jpg

This article identifies this image as an illustration of the 1863 production at the Théâtre Lyrique, but the caption is in Italian, and the illustrator is Antonio Bonamore (1845–1907). It seems more likely it was for a late 19th century production in Italy (possibly Milan, since Bonamore is known to have worked there). See File:Final scene of Act1 of 'The Pearl Fishers' by Bizet - Gallica.jpg for a higher resolution version. --Robert.Allen (talk) 11:03, 21 December 2011 (UTC)

Well, I do not know about the background of the image, but Gallica itself states it as published in 1863. That said, I am more interested in how you obtained a 3,533 × 4,250 pixels image from Gallica; I fail to see any links there that allow one to do so. Revealing your method would help to obtain some better images from Gallica. Jappalang (talk) 05:34, 22 December 2011 (UTC)

In these gallery collections the information given in the Gallica annotation does not always seem to apply to every item. A date of 1863 seems very improbable in the case of this stage illustration by Bonamore. He was only 17 or 18 at the time. All the other examples of his work that we have are later, and 1886 would fall in that period of activity. It also seems improbable that this opera would have received any attention in Italy before Carmen became well known. And if Bonamore had actually been in Paris in 1863, it would more likely have been published in French. It might be better to use a non-committal caption like "Final scene of act 1, illustration by Antonio Bonamore (1845–1907)". If you follow the source link for the high res version, you will see a zoom option. Overlapping, fully zoomed images can be reassembled in a photo editor. (A large browser window reduces the number of steps.) --Robert.Allen (talk) 12:12, 22 December 2011 (UTC)

Ah, I saw that zoom feature, but it was pretty useless for the page I was looking at that time (no zoom in detail). I thought the zoom was a red herring, so it seems my first experience was just bad luck. Jappalang (talk) 13:20, 22 December 2011 (UTC)

• I think Gallica is in error. The illustration also appears in Teatro La Fenice's programma di sala (programme book) for their 2004 production of the opera (See [1], p. 253) with a caption stating that Bonamore's engraving was published in Teatro Illustrato April 1886, on the occasion of the Italian premiere at La Scala (20 March 1886) and was based on Giovanni Zuccarelli's (1846-1897) orignal set design for the La Scala production. Voceditenore (talk) 12:43, 22 December 2011 (UTC)
  • I find myself agreeing with both of you. It is not unknown for such databases to make errors. In fairness, Gallica did not say this image was published by Théâtre Lyrique (nor did it give details on what name it was published under), but stated it as related to the opera performed at the theatre. I think we can use the programme provided by Voceditenore as the reliable source on the image's origin (at the La Scala on 20 March 1886). Jappalang (talk) 13:20, 22 December 2011 (UTC)
    • If I'm reading the Italian correctly, the caption in the programme book states that it depicts the Leïla-Zurga duet in Act 3, rather than the final scene of Act 1 as indicated in the Gallica image. I think the programme book may be wrong about that. To me it looks a lot more like the duet between Leïla and Nadir that ends act 1. --Robert.Allen (talk) 13:42, 22 December 2011 (UTC)
      • Yes, I'd go with caption actually on the engraving. Voceditenore (talk) 14:28, 22 December 2011 (UTC)