Rossini's final opera this reviewer considers to be one of his best operas, with 'Il Barbiere Di Siviglia' and 'La Cenerentola' also among his best.
It's not a perfect opera, it's somewhat sprawling and the first two acts drag depending on how they're performed. The characters however are interesting and vividly drawn, there are some very memorable scenes and Rossini's music is truly fantastic especially the Overture (the most famous part and one of his most famous works) and Tell's "Sois Immobile" (or "Reste Immobile" in its Italian version, which is one of the most beautiful things Rossini ever wrote).
'Guillaume Tell' (or 'Guglielmo Tell') is very well served on record, especially the Gabriel Bacquier and Sherrill Milnes recordings. However, on DVD it's very scant, and those available have interest but are heavily flawed. Best production of the opera this reviewer has seen is one from 2003 with Thomas Hampson in the title role.
Royal Opera House have done many great to brilliant productions of opera and ballet in the past, and still do. Their production of 'Guillaume Tell' is a long way from being one of those, in fact it's a huge disappointment of a production that is better heard than seen. The furious uproar and booing the production garnered is not surprising at all, not since Liceu's 'Don Giovanni' has such a reaction been justified (and this is not intended to sound snarky).
Starting with the good things (always try to look for good things in films/television programmes/cartoons/opera, musical and ballet productions that are not good), it is often excellent musically. The orchestra play rousingly and powerfully, with great style and poise. The chorus while static too much of the time and not having much to properly bring depth and individuality are spine-shivering and bring tears to the eyes in their final chorus. Antonio Pappano keeps things moving beautifully in a poised, clear and energetic account of the score.
Most of the principal performances are excellent, with the standout being Gerald Finley as a noble and virile Tell with superb vocalism, he is heart-breaking in "Sois Immobile". John Osborn sounds fearless in the killer role of Arnold and is suitably heroic. There is strong support from Enkelejda Shkosa, Sofia Fomina and Alexander Vinogradov.
Apart from a nicely done "Sombre Foret", Malin Bystrom is out of her depth as Matilde and fails to bring out enough of the character's conflict, which is more the fault of lame and uninteresting stage direction. Many of the supporting roles are competent but undistinguished.
Visually and staging-wise, this production of 'Guillaume Tell' is a disaster. It looks ugly, with sets and costumes that add nothing to the story and instead confuse it massively considering the time period and setting is pretty specific in the opera.
Worse is the stage direction. Distasteful doesn't describe it and it brings the production and the fine efforts of the performers down significantly. It drags badly in the first two acts, makes a hack job of the fourth act, brings many irrelevant and downright distasteful staging touches (especially the infamous rape scene), has no attention to characterisation or interaction making the drama banal and dull and is either too busy or too static with a lot of self-indulgence. It only shows glimmers of coming to life and intensity in Act 3, but actually that is largely down to the musical values.
In conclusion, a production better heard than seen. It is excellent musically, but a disgrace everywhere else. 4/10 Bethany Cox
It's not a perfect opera, it's somewhat sprawling and the first two acts drag depending on how they're performed. The characters however are interesting and vividly drawn, there are some very memorable scenes and Rossini's music is truly fantastic especially the Overture (the most famous part and one of his most famous works) and Tell's "Sois Immobile" (or "Reste Immobile" in its Italian version, which is one of the most beautiful things Rossini ever wrote).
'Guillaume Tell' (or 'Guglielmo Tell') is very well served on record, especially the Gabriel Bacquier and Sherrill Milnes recordings. However, on DVD it's very scant, and those available have interest but are heavily flawed. Best production of the opera this reviewer has seen is one from 2003 with Thomas Hampson in the title role.
Royal Opera House have done many great to brilliant productions of opera and ballet in the past, and still do. Their production of 'Guillaume Tell' is a long way from being one of those, in fact it's a huge disappointment of a production that is better heard than seen. The furious uproar and booing the production garnered is not surprising at all, not since Liceu's 'Don Giovanni' has such a reaction been justified (and this is not intended to sound snarky).
Starting with the good things (always try to look for good things in films/television programmes/cartoons/opera, musical and ballet productions that are not good), it is often excellent musically. The orchestra play rousingly and powerfully, with great style and poise. The chorus while static too much of the time and not having much to properly bring depth and individuality are spine-shivering and bring tears to the eyes in their final chorus. Antonio Pappano keeps things moving beautifully in a poised, clear and energetic account of the score.
Most of the principal performances are excellent, with the standout being Gerald Finley as a noble and virile Tell with superb vocalism, he is heart-breaking in "Sois Immobile". John Osborn sounds fearless in the killer role of Arnold and is suitably heroic. There is strong support from Enkelejda Shkosa, Sofia Fomina and Alexander Vinogradov.
Apart from a nicely done "Sombre Foret", Malin Bystrom is out of her depth as Matilde and fails to bring out enough of the character's conflict, which is more the fault of lame and uninteresting stage direction. Many of the supporting roles are competent but undistinguished.
Visually and staging-wise, this production of 'Guillaume Tell' is a disaster. It looks ugly, with sets and costumes that add nothing to the story and instead confuse it massively considering the time period and setting is pretty specific in the opera.
Worse is the stage direction. Distasteful doesn't describe it and it brings the production and the fine efforts of the performers down significantly. It drags badly in the first two acts, makes a hack job of the fourth act, brings many irrelevant and downright distasteful staging touches (especially the infamous rape scene), has no attention to characterisation or interaction making the drama banal and dull and is either too busy or too static with a lot of self-indulgence. It only shows glimmers of coming to life and intensity in Act 3, but actually that is largely down to the musical values.
In conclusion, a production better heard than seen. It is excellent musically, but a disgrace everywhere else. 4/10 Bethany Cox
