Bing Crosby crooned about “Sweet Leilani,” that Hawaiian “heavenly flower” in Harry Owens’ Academy Award-winning hapa haole ditty. Eric Clapton sang that “Layla” “got me on my knees.” In Michael Connelly’s crime novel Trunk Music, LAPD Detective Harry Bosch scours Las Vegas, searching for the missing stripper also named Layla. And in The Pearl Fishers Georges Bizet features the enticing high priestess Leila (beguiling Tblisi, Georgia soprano Nino Machaidze, last seen gracing the Dorothy Chandler Pavilion as Mimi in 2016’s La Boheme).
Originally set in Ceylon (now Sri Lanka), this stunning production is simply eye-popping, with sublime music, even if Michel Carre and Eugene Cormon’s turgid libretto is fraught with Freudian symbolism about sexual repression and religious zealotry (funny how those two things often go hand in hand). LA Opera gives Bizet the Hollywood treatment, opening with a scrim that makes it seem as if the stage is underwater, as real life “swimmers” (or “scrim-mers”?) cavort about.