Comprehensive analysis of a standout opera aria. Proprietary footage of highly skilled opera singers performing the work. Detailed analysis of the technical aspects of singing and interpreting an aria. Recommendations on further study, listening and viewing. A downloadable document for you to keep. All these components make BEHIND THE ARIA from the Giulio Gari Foundation something special.

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BEHIND THE ARIA

Je crois entendre encore | I think I can still hear

Les pêcheurs de perles

(The Pearl Fishers) is an opera in three acts by the French composer Georges Bizet, to a libretto by Eugène Cormon and Michel Carré. It was premiered on 30 September 1863 at the Théâtre Lyrique in Paris, and was given 18 performances in its initial run. Set in ancient times on the island of Ceylon (Sri Lanka), the opera tells the story of how two men’s vow of eternal friendship is threatened by their love for the same woman, whose own dilemma is the conflict between secular love and her sacred oath as a priestess. The friendship duet “Au fond du temple saint”, generally known as “The Pearl Fishers Duet”, is one of the best-known in Western opera.

The Plot

In Act 1, Zurga and Nadir renew their friendship but soon discover they both love Leïla, who arrives to bless the fishing season.

In Act 2, their secret romance is revealed, leading Zurga to condemn them to death.

In the final act, Zurga ultimately sacrifices his own safety to save the lovers from execution, revealing his past connection with Leïla before facing his fate alone

BEHIND THE ARIA | Le crois entendre encore

Tenor, Fanyong Du

Fanyong Du, a Chinese tenor based in the West, is active across Asia, Europe, and North America. “The performance’s center was Fanyong Du (Nemorino) … Du brought a real sense of belcanto style to bear with fine gradations of dynamics and tone color culminating in a really admirable “Una furtive lagrima”, complete with perfectly executed messa di voce at the close.”

– “Opera News ” New York.

More About Fanyong Du

Du’s musical journey began with at 16, he was invited by Professor Elvira to study for a bachelor’s, master’s, and postdoctoral degree at the Odessa National A. V. Nezhdanova Academy of Music. American tenor George Gong recommended him for advanced studies at the Manhattan School of Music and Mannes School of Music in New York.

Du’s journey is a testament to his exceptional artistic talent. His debut as Rodolfo at the Odessa National Opera and Ballet Theater showcased his potential, leading to endorsements from Professor Elvira (recipient of the Friendship Award from former Premier minister Wen Jiabao) and the vocal faculty at Odessa. From 2009 to 2012, he taught vocal music at Odessa Nezhdanova Music Academy. He organized charity performances for the 2008 Sichuan Earthquake with the Odessa Philharmonic Orchestra, gaining recognition from the public, media, and the city’s mayor. In 2012, he received Ukraine’s Presidential Medal of Honor and the Artistic Gold Award.

In 2011, he won an award at the China International Vocal Competition in NingBo where he gained the appreciation and support of American tenor George Gong, marking the start of his North American artistic career. In 2012, he was invited by baritone Renato Bruson to perform in Siena, later joining the Scala Young Artists Program, and was subsequently accepted at the Manhattan School of Music. His studies at both Manhattan and Mannes enriched his North American musical perspective. In 2014, he joined the prestigious Cardiff Artists Program with the Welsh National Opera. Du’s performances across the United States, Canada, Italy, Austria, Switzerland, France, the United Kingdom, South Korea, Russia, Japan, Azerbaijan, Ukraine, the Czech Republic, and Slovakia have garnered widespread acclaim, and he now collaborates with the renowned Lombardo agency.

A recent career highlight was his performance of Mozart’s final work, the Requiem, with renowned conductor Joseph Napoli at Carnegie Hall, New York, in June 2024.

For the past six years, Du has worked closely with the esteemed American Russian pianist and coach Vera Stern, celebrated for her expertise in Russian repertoire and as former coach to Dmitri Hvorostovsky. Together, they have held numerous recitals at the French Embassy in Washington, D.C., featuring Russian masterpieces. These included a Tchaikovsky recital commemorating the 180th anniversary of his birth and a Rachmaninoff recital marking his 150th anniversary, attended by Rachmaninoff’s granddaughter and the French Ambassador to the U.S. They went on to present Rimsky-Korsakov’s Mozart and Salieri and Rachmaninoff’s Aleko, and performed Eugene Onegin at Lincoln Center, with future plans to stage Tchaikovsky’s Iolanta and Eugene Onegin in Washington. The French Embassy in Washington has also invited Du back to perform more Russian art song recitals, including works by Rimsky-Korsakov and Glinka. Numerous diplomats have been his guests in Washington, D.C.

His performances at iconic venues like Lincoln Center, including Bellini’s La Sonnambula, and Carnegie Hall, such as a tribute to Giuseppe Giacomini with Giacomini himself traveling from Italy to New York, further highlight his artistic prowess.

Du’s operatic and concert tours have left an indelible mark worldwide. His repertoire includes masterpieces like I Puritani, Faust, Les pêcheurs de perles, Don Giovanni, La Bohème, La Traviata, Gianni Schicchi, Eugene Onegin, Aleko, and Mozart and Salieri. Whether in L’elisir d’amore, or dramatic works like Rigoletto and Sacco e Vanzetti, Du’s remarkable vocal artistry resonates deeply with audiences around the globe.

Du has won numerous prestigious awards, including the Gerda Lissner Foundation Competition and Giulio Gari International Vocal Competition in the U.S., Mykola Lysenko International Music Competition in Ukraine, Nezhdanova International Vocal Competition in Odessa, Shalyapin International Vocal Competition in Russia, Ningbo International Vocal Competition in China, and, most recently in 2023, the Altamura/Caruso International Lyric Competition Gold Award in Siena, Italy. His dedication, passion, and unparalleled skill as a tenor have woven a tapestry of music that resonates worldwide.

ARIA ANALYSIS

LYRICS

FRENCH

À cette voix quel trouble

agitait tout mon être?
Quel fol espoir?

Comment ai-je cru reconnaître?
Hélas! devant mes yeux

déjà, pauvre insensé,
La même vision

tant de fois a passé!
Non, non, c’est le remords,

la fièvre, la délire!
Zurga doit tout savoir,

j’aurais tout lui dire!
Parjure à mon serment,

j’ai voulu la revoir!
J’ai decouvert sa trace,

et j’ai suivi ses pas!
Et caché dans la nuit

et soupirant tout bas,
J’écoutais ses doux chants

emportés dans l’espace.

Je crois entendre encore

Caché sous les palmiers

Sa voix tendre et sonore

Comme un chant de ramiers

Oh, nuit enchanteresse

Divin ravissement

Oh, souvenir charmant

Folle ivresse, doux rêve!

Aux clartés des étoiles

Je crois encore la voir

Entr’ouvrir ses longs voiles

Aux vents tièdes du soir

Oh, nuit enchanteresse

Divin ravissement

Oh, souvenir charmant

Folle ivresse, doux rêve!

Charmant souvenir!

ENGLISH

At this voice what trouble

agitated my whole being?
What mad hope?

How did I think I recognized?
Alas! before my eyes

already, poor fool,
The same vision

so many times has passed!
No, no, it is remorse,

fever, delirium!
Zurga must know everything,

I would have told him everything!
Breaking my oath,

I wanted to see her again!
I discovered her trace,

and I followed her steps!
And hidden in the night

and sighing softly,
I listened to her sweet songs

carried away in space.

I think I can still hear

Hidden beneath the palm trees

Her tender and resonant voice

Like the song of a dove

Oh, enchanting night

Divine rapture

Oh, charming memory

Foolish intoxication, sweet dream!

In the clarity of the stars

I think I can still see her

Opening her long veils

To the warm winds of the evening

Oh, enchanting night

Divine rapture

Oh, charming memory

Foolish intoxication, sweet dream!

Charming memory!

DISCUSSION

The aria, “Je crois entendre encore,” is a poignant and evocative piece that expresses the longing and nostalgia of a man reminiscing about a beloved woman.

A Deeper Look into the Lyrics

“Je crois entendre encore”: “I think I can still hear” – This line sets the nostalgic tone, as the protagonist seems to be hearing the woman’s voice in his mind.
“Caché sous les palmiers”: “Hidden beneath the palm trees” – This imagery evokes a tropical setting, perhaps a distant memory of a romantic encounter.
“Sa voix tendre et sonore”: “Her tender and resonant voice” – The man describes the woman’s voice as both gentle and powerful.
“Comme un chant de ramiers”: “Like the song of a dove” – This simile further emphasizes the sweetness and beauty of her voice.

The repetition of the lines “Oh, nuit enchanteresse” (Oh, enchanting night) and “Divin ravissement” (Divine rapture) highlights the intensity of the emotions he’s experiencing. The phrase “Charmant souvenir” (Charming memory) is repeated at the end, underscoring the enduring nature of his feelings.

Thematic Significance

This aria is rich in themes of love, loss, and memory. The protagonist is clearly deeply affected by the absence of the woman he loves and seeks solace in his memories. The music, with its soaring melodies and lush harmonies, perfectly captures the emotional intensity of the scene.

The Music

Musically, the aria is written in A minor and maintains a gentle 6/8 time signature that creates a dreamy, swaying quality. The orchestration is deliberately light and transparent, with particular emphasis on the woodwinds. Bizet uses the flute to echo and interweave with the vocal line, creating an ethereal atmosphere that supports the memory-like quality of the text.

The vocal writing is particularly notable for:

Its demanding soft high notes, requiring excellent control from the tenor
Long, sustained phrases that float above the orchestra
A gentle, lyrical melody that requires both technical precision and emotional sensitivity
The need to maintain pianissimo dynamics while still projecting the voice

The aria’s structure moves between more rhythmic sections and flowing lyrical passages, with the memorable main theme returning throughout. The high A’s in the piece are particularly challenging as they need to be sung very softly, making this aria a real test of a tenor’s technique and control.

Georges Bizet composed “Je crois entendre encore” for his 1863 opera “Les pêcheurs de perles” (The Pearl Fishers). This tender aria appears in Act I and is sung by Nadir, one of the main characters. The aria expresses Nadir’s memories of hearing Leïla’s voice in the past, and his lasting love for her despite their separation.

Written when Bizet was just 24 years old, this aria demonstrates his early mastery of lyrical writing and his ability to create deeply emotional moments through music. The piece is known for its gentle, flowing melody and delicate orchestration that supports rather than overwhelms the vocal line. The aria is structured in a way that allows the tenor to showcase both technical control in the soft, high passages and emotional expressivity.

What’s particularly interesting about this aria is how it represents Bizet’s growing compositional style. While “Carmen” would later become his masterpiece, “Les pêcheurs de perles” and this aria in particular show his early talent for combining French lyric traditions with exotic elements – in this case, setting the opera in ancient Ceylon (modern-day Sri Lanka).

About Georges Bizet

Georges Bizet (1838-1875) was a French composer of the Romantic era, best known for composing the opera “Carmen.” Born in Paris to a musical family, he showed remarkable talent early on, entering the Paris Conservatory at age nine and winning multiple prestigious awards, including the Prix de Rome in 1857.

Despite his natural genius as a composer, Bizet struggled to achieve recognition during his lifetime. He earned a living mainly as a pianist and arranger while composing operas including “The Pearl Fishers” (1863) and “Carmen” (1875). He also wrote orchestral works, piano pieces, and incidental music for plays.

“Carmen,” his final and greatest work, premiered at the Opéra-Comique in Paris in March 1875. While it initially received mixed reviews, it went on to become one of the most popular and frequently performed operas in history. Tragically, Bizet never witnessed its success – he died of a heart attack in June 1875, just three months after the premiere, at the young age of 36.

Bizet’s music is characterized by brilliant orchestration, memorable melodies, and a gift for dramatic expression. His work, particularly “Carmen,” helped establish realism in opera and influenced later composers like Tchaikovsky and Puccini.

FURTHER STUDY

Reference Recordings

There are several notable recordings of “Les pêcheurs de perles.” Here are some of the most highly regarded ones:

The 1953 recording with Jean Marny, Henri Legay, and Michel Dens, conducted by Jean Fournet – this is considered one of the classic French recordings and captures the traditional performance style.
The 1960 EMI recording featuring Janine Micheau, Nicolai Gedda, and Ernest Blanc, conducted by René Leibowitz – particularly celebrated for Gedda’s interpretation of Nadir. His rendition of “Je crois entendre encore” is often considered a benchmark.
The 1977 recording with Alain Vanzo, Ileana Cotrubas, and Roger Soyer, conducted by Georges Prêtre – notable for Vanzo’s idiomatic French style and interpretation.
A more recent benchmark is the 1989 recording with Barbara Hendricks, John Aler, and Gino Quilico, conducted by Michel Plasson – praised for its overall quality and authentic French style.

For modern recordings:

The 2016 Metropolitan Opera production with Diana Damrau, Matthew Polenzani, and Mariusz Kwiecien, conducted by Gianandrea Noseda – this received considerable acclaim and was released on DVD/Blu-ray.
The 2017 Pentatone recording with Julie Fuchs, Cyrille Dubois, and Florian Sempey, conducted by Alexandre Bloch – notable for its historically informed approach to the score.

Curated Videos

There are several notable video productions of “Les pêcheurs de perles,” though it’s performed less frequently than Bizet’s “Carmen.” Here are some of the most significant:

The Metropolitan Opera’s 2016 production, directed by Penny Woolcock – This is probably the most widely available modern production. It features:

- Diana Damrau as Leïla
- Matthew Polenzani as Nadir
- Mariusz Kwiecien as Zurga
- Notable for its striking visual effects, including an underwater opening sequence
- The production uses elaborate staging to create the coastal setting
- Released commercially on DVD/Blu-ray by Erato

The 2012 Theater an der Wien production, directed by Lotte de Beer:

- Dmitry Korchak as Nadir
- Cristina Pasaroiu as Leïla
- Nathan Gunn as Zurga
- Known for its more contemporary staging that explores colonialism themes

The 2019 Opéra Comique production from Paris:

- Julie Fuchs as Leïla
- Cyrille Dubois as Nadir
- Florian Sempey as Zurga
- Particularly praised for its historically informed musical approach and authentic French style

The 1995 Teatro La Fenice production:

- Giuseppe Filianoti as Nadir
- Annick Massis as Leïla
- Notable for its more traditional staging approach

The Met’s 2016 production is generally considered the reference video version due to its high production values, strong casting, and widespread availability.

Literary References

Some respected works on Bizet and The Pearl Fishers include:

Hugh Macdonald’s “Bizet” in the Master Musicians series – this is considered one of the most authoritative English-language biographies of Bizet and includes detailed discussion of The Pearl Fishers
Winton Dean’s “Georges Bizet: His Life and Work” – while older (published 1965), this remains an important scholarly source that provides extensive analysis of The Pearl Fishers alongside Bizet’s other works
Hervé Lacombe’s “Georges Bizet: Naissance d’une identité créatrice” – this French-language work is highly regarded for its thorough research and musical analysis, including coverage of The Pearl Fishers

Apple Podcasts

Further Listening

Not only at the opera: There are numbers recordings of this aria from legendary singers including Placido Domingo, Alfredo Kraus, and Nicolai Gedda. And those are included in our Spotify playlist. But the story of this song is even richer when you consider versions from Joshua Bell, Alison Moyet and Grover Washington Jr.