'Il Barbiere Di Siviglia' and 'La Cenerentola' are Rossini's best operas, but while it is not a perfect opera 'Guillaume Tell' (or 'Guglielmo Tell' in its Italian version') this reviewer has a lot of fondness for, with the celebrated Overture and Tell's gorgeous "Sois Immobile" being two of the best pieces he ever wrote.
'Guillaume Tell' is well served on record, especially the Gabriel Bacquier and Sherrill Milnes recordings (both baritones giving some of their best ever singing on record, though somewhat atypical roles for both). But it has a very scant DVD competition, and what there is hold some interest but are heavily flawed. The earlier performance with Giorgio Zancanaro and Chris Merritt has great things musically if unattractive visually, while it doesn't have the most interesting staging in the world it at least isn't distasteful and at least makes sense. Which is more than can be said for this production, and the justly reviled recent Royal Opera House production (not on DVD).
This production is saved by the almost uniformly superb musical values. 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. Michele Mariotti has occasional ponderous moments but mostly keeps things moving beautifully in a poised, clear and energetic account of the score.
Of the cast, Juan Diego Florez was a huge surprise as Arnold. The role is an absolute pig to sing, and even those who have sung it on record have mostly not dared to sing it on stage. While he is better in more Bel Canto and lyric roles like Donizetti, earlier Rossini and Bellini that are nowhere near as heavy Florez attacks the role courageously and actually sounds splendid especially in his aria, he characterises the role with heroism and charm too. Nicola Alaimo is noble and virile in the title role, and delivers a very moving account of "Sois Immobile". Marina Rebeka is one of not many sopranos to sound over-taxed as Matilde, singing absolutely divinely in "Sombre Foret" and characterising poignantly.
Amanda Forsythe's Jemmy is truly charming, and makes the most of her Act 3 aria. The Hedwige of Veronica Simeoni is also very good, and Simone Alberghini does much with little. The only disappointments are Tittoto's finely sung but far too buffoonish Gessler (who's meant to be a demonic villain, Tittoto seems to think he is performing Bartolo or Don Magnifico which just doesn't gel) and Celso Albelo who is truly awful on all counts.
Visually, the production is sparse and ugly, with some of the most hideous costuming of any opera production personally seen. Worse is Graham Vick's stage direction, which is an absolute disgrace to not just 'Guillaume Tell' but to any opera in existence. It is dull, senseless to the point of incoherence, distasteful to the point of being offensive (especially in the irredeemably disastrously staged Act 3), drags horribly in the first two acts and contains some of the most risibly and epileptic seizure-inducing choreographed ballet sequences in any production of any opera.
Overall, mostly superb musically but completely ruined by the visuals and staging, expected much from Vick. 4/10 Bethany Cox
'Guillaume Tell' is well served on record, especially the Gabriel Bacquier and Sherrill Milnes recordings (both baritones giving some of their best ever singing on record, though somewhat atypical roles for both). But it has a very scant DVD competition, and what there is hold some interest but are heavily flawed. The earlier performance with Giorgio Zancanaro and Chris Merritt has great things musically if unattractive visually, while it doesn't have the most interesting staging in the world it at least isn't distasteful and at least makes sense. Which is more than can be said for this production, and the justly reviled recent Royal Opera House production (not on DVD).
This production is saved by the almost uniformly superb musical values. 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. Michele Mariotti has occasional ponderous moments but mostly keeps things moving beautifully in a poised, clear and energetic account of the score.
Of the cast, Juan Diego Florez was a huge surprise as Arnold. The role is an absolute pig to sing, and even those who have sung it on record have mostly not dared to sing it on stage. While he is better in more Bel Canto and lyric roles like Donizetti, earlier Rossini and Bellini that are nowhere near as heavy Florez attacks the role courageously and actually sounds splendid especially in his aria, he characterises the role with heroism and charm too. Nicola Alaimo is noble and virile in the title role, and delivers a very moving account of "Sois Immobile". Marina Rebeka is one of not many sopranos to sound over-taxed as Matilde, singing absolutely divinely in "Sombre Foret" and characterising poignantly.
Amanda Forsythe's Jemmy is truly charming, and makes the most of her Act 3 aria. The Hedwige of Veronica Simeoni is also very good, and Simone Alberghini does much with little. The only disappointments are Tittoto's finely sung but far too buffoonish Gessler (who's meant to be a demonic villain, Tittoto seems to think he is performing Bartolo or Don Magnifico which just doesn't gel) and Celso Albelo who is truly awful on all counts.
Visually, the production is sparse and ugly, with some of the most hideous costuming of any opera production personally seen. Worse is Graham Vick's stage direction, which is an absolute disgrace to not just 'Guillaume Tell' but to any opera in existence. It is dull, senseless to the point of incoherence, distasteful to the point of being offensive (especially in the irredeemably disastrously staged Act 3), drags horribly in the first two acts and contains some of the most risibly and epileptic seizure-inducing choreographed ballet sequences in any production of any opera.
Overall, mostly superb musically but completely ruined by the visuals and staging, expected much from Vick. 4/10 Bethany Cox
