GUILLAUME TELL

Gioachino Rossini (1792–1868)

 The composer 

During two decades in early 1800, the opera scene in Europe was dominated by Gioachino Rossini. Very aware of his relationship with the public and with a strong inclination towards the stage, Rossini worked tirelessly during the first part of his life. In eight years, between 1815 and 1823, he composed twenty operas.

Then, for many years he was inactive and lived on the enormous popularity and prestige he had conquered. His musical education was influenced by the German models which led him to pursue a brilliant orchestration. The outcome was the renowned Rossini's crescendo: a vertiginous growth of movement and intensity of the music.

01 - Guillaume Tell

Guillaume Tell is the last opera composed by Gioachino Rossini. The composer was 37 years of age when he wrote the music in 1828. He did it over a period of five months, which was unusually long considering his customary rapidity. Based on Schiller's tragedy by the same name (1804), the libretto was versified by De Joury, the titular poet of the Paris Opera, and later reviewed by Hippolyte Bis, Armand Marast and Adolphe

Crémlneux. Despite the many revisions, the end result was a bland and banal libretto.

The plot line

The scene depicts Switzerland in the XIII century. Arnold, a Swiss patriot and son of a venerable leader, Melchthal, has saved from drowning Mathilde, daughter of the Austrian tyrant Gesler, whom the Swiss abhor. Arnold and Mathilde have fallen in love.

Act I. It is the day of the Shepherd Festival in an Alpine village. According to ancient customs, Melchthal blesses the village couples in love. Although Arnold loves Mathilde, he belongs also to his native land. The festival is interrupted by a sound of horns. Gesler's guards arrive with Rodolphe at their head. Helped by a Swiss conjurer, Tell, the fugitive Leuthold escapes but the guards turn to the country folk, seize and carry off Melchthal.

Act II. In a valley by Lake Lucerne, Arnold and Mathilde meet and pledge their love. Arnold learns from Tell and his follower, Walther, that his father has been slain by Gesler's order. His thoughts turn to vengeance. The three men bind themselves by oath to free Switzerland. The cantons gather and swear to throw off the Austrian yoke.

Act III. At the market place of the village. It is the hundredth anniversary of Austrian rule in Switzerland. Tell comes along with his son Jemmy. Recognized as the man who helped Leuthold escape, he must be punished. Gesler cynically orders him to shoot an apple from Jemmy's head. The shot succeeds. The fearless Tell informs Gesler that the second arrow was intended for him, had the first missed its mark. Tell is arrested.

Act IV. The shores of Lake Lucerne. Arnold has returned to his family home and plots revenge for his father's murder. He is joined by comrades. A storm is gathering as Mathilde reunites Jemmy with his mother Hedwige. A boat, bearing Gesler and Tell, approaches the shore. Gesler disembarks but is soon shot through the heart by Tell. Tell and his followers proclaim the liberation of Switzerland from the Austrians.

The opera

The world premiere on 3 August 1829 at the Paris Opera was received by the audience with a certain amount of coolness. That response was no sign that the opera would not remain for many years in the repertoire. After the premiere, the performances were 56. Then, because of the long duration of the opera, only the second act was performed in connection with some other work, until the sensational success of tenor Duprez, in 1837, led to its revival.

Even today, the opera is seldom performed. What are the reasons? They may be found in the length of the opera, the clumsy libretto divided up into numerous scenes, the demanding tenor role and the "gate crashing" of one (video 7) of two ballets which, according to some, interrupts dramatic continuity. There is one allegation I totally dismiss. It claims that Rossini, an Italian, did not feel comfortable about composing a grand opera in the French style.

The opera is significant because of two reasons: The Swiss popular songs (video 7) and landscape are brought alive by the score and some pieces are almost the romantic precursors of lyrical and heroic developments in opera. The opera is fascinating because of the care and imagination Rossini bestowed on his "French" work, such as the lyric layout and composition of the famous overture, the extraordinary combination of French and Italian elements and the scenic splendour of ballet and choruses.

The slow introduction of the overture reflects Alpine calm. There is a beautiful violoncello passage. In it, Rossini may well have harked back to his student years as a pupil in violoncello playing at the conservatory in Bologna. The final section consists of a trumpet call followed by a fast movement, which leaves the listener quite breathless. It represents a call to arms and the uprising of the Swiss.

The most striking vocal piece in the first act is Arnold 's Oh! Matilde. A tenor with powerful high notes can always render this aria with great effect (video 1). The climax of the second act is the trio of Arnold, Tell and Walther, followed by the assembly of the cantons and the taking of the oath to conquer or die, Giuriam is an imperial finale (video 6).

Another striking vocal piece is Arnold 's aria O muto asil del pianto (video 10) in the last act, at the sight of his now silent home. It is followed by the celebrated tenor arioso Corriam (video 11), a worthy predecessor to the renowned cabaletta Di quella pira in Trovatore, It precedes the very melodious trio of Mathilde, Hedwige and Jemmy (video 12) and then the great duet between Mathilde and Hedwige (video 13).

The opera ends with a hymn to Liberty, Tutto cangia, il ciel si abbella. It is a splendid concertato as memorable as any written by Verdi. It begins at a slow tempo with the voice of William followed in turn by those of Hedwige, Jemmy, Arnold, William again and Walther. The orchestral movement gathers speed in support of the soloists joined by the chorus in a Rossini's solemn crescendo ending with piercing sovracuti of Mathilde twice and Arnold, which resonate the last orchestral bars (video 14).

Donizetti is quoted of having said: "The first three acts of Guillaume Tell are Rossini's but the last act was composed by God!"

02 - The opera performers

DVD

Guillaume Tell: Broadcast live throughout Europe by Eurovision in 1987 and issued in 1988.

Major soloists: Salvatore Fisichella as Arnold (T), Maria Chiara as Mathilde (S), Antonio Salvadori as William (Bar), Alfredo Zanazzo as Walther (B), Margaret Chalker as Jemmy (S), Nadine Asher as Hedwige (Ms), Alfred Muff as Gesler (B), Peter Straka as Rodolphe (T), Jacob Will as Melchthal (B) and Howard Nelson as Leuthold (B).

Orchestra: Orchester der Oper Zürich conducted by Nello Santi

Chorus: Chor des Opernhauses Theater

Ballet: Des Opernhauses

Prompter: Irma Cugini

Artistic Direction: Under the great Film director Daniel Schmid of Il bacio di Tosca fame.

03 - Media files

Part 1 

Video 1 Ah! Matilde io t'amo duet sung by Arnold (tenor Salvatore Fisichella) and William (baritone Antonio Salvadori) – Guillaume Tell act I

Video 2 Restate sung by Rodolphe (tenor Peter Straka), soloists and the finale – Guillaume Tell act I

Video 3 Se il mio giungere t'oltraggia duet sung by Arnold (tenor Salvatore Fisichella) and Mathilde (soprano Maria Chiara) – Guillaume Tell act II

Video 4 Cari, onesti e dolci accenti duet sung by Arnold (tenor Salvatore Fisichella) and Mathilde (soprano Maria Chiara) – Guillaume Tell act II

Video 5 Ardente il cor duet sung by Arnold (tenor Salvatore Fisichella) and Walther (bass Alfredo Zanazzo) – Guillaume Tell act II

Video 6 Giuriam trio sung by William (baritone Antonio Salvadori), Arnold (tenor Salvatore Fisichella), Walther (bass Alfredo Zanazzo) and the finale – Guillaume Tell act II

Part 2  

Video 7 Ballet and chorus - Guillaume Tell act III

Video 8 Resta immobile aria sung by William (baritone Antonio Salvadori) - Guillaume Tell act III

Video 9 Suo figlio a me sia dato aria sung by Mathilde (soprano Maria Chiara), soloists and the finale - Guillaume Tell act III

Video 10 O muto asil del pianto aria sung by Arnold (tenor Salvatore Fisichella) - Guillaume Tell act IV

Part 3  

Video 11 Corriam arioso sung by Arnold (tenor Salvatore Fisichella) - Guillaume Tell act IV

Video 12 La speme onde arde il cor trio sung by Mathilde (soprano Maria Chiara), Jemmy (soprano Margaret Chalker) and Hedwige (mezzo Nadine Asher) - Guillaume Tell act IV

Video 13 Del debole sei aria sung by Hedwige (mezzo Nadine Asher) - Guillaume Tell act IV

Video 14 Tutto cangia, il ciel si abbella concertato sung by William (baritone Antonio Salvadori), soloists and the finale - Guillaume Tell act IV

Note (ed.)

To play back the video clips on your computer

INSTALL THE REAL PLAYER 10 or WINDOWS MEDIA PLAYER 10 or WINAMP

The video clips should be played on the PC by opening them with any of the three players above. A video zoom setting of 1x is highly recommended.

The clips are multi bit rate codec files of the mwv video type. The streaming server determines the end user's connection for speed of delivery. The clip sound is very good, colour and lip sync are good, video sharpness is satisfactory at 1x zoom setting but blurring of the image sets in when viewed at 2x and is worse on a full screen (considering that the clips have been highly compressed to reduce weight and speed up downloading).

I open a video clip always with the WM player (in skin mode) and keep the setting at 1x. No video setting control is necessary. Then, I use the mouse to just drag outwards the player window top or bottom edge and the left or right edge to maximise the video area.

TO GIVE THE VIDEO MORE TECHNICOLOR AND BRIGHTNESS WHERE NEEDED

1. I switch to full mode

2. I select the WM player video settings

3. I reset the Saturation band by placing the cursor half way to the right of the band centre

4. I reset the Brightness band by placing the cursor just to the right of the band centre

5. I switch back to skin mode

6. I play the video

TO GIVE THE VIDEO LESS TECHNICOLOR WHERE NEEDED  (see video 8)

1. I switch to full mode

2. I select the WM player video settings

3. I reset only the Saturation band by placing the cursor half way to the left of the band centre

4. I switch back to skin mode

5. I play the video

The exhilaratingly solemn concertato

(Guillaume Tell finale ultimo)

04 - Review by members of the panel

Joseph Fragala

Salvatore Fisichella - Aristocratic movements across the stage and acting ability enhance his performance. Besides technical and stylistic refinement, the tenor's voice attracts because of its sumptuous timbre in the middle and upper registers. It is outstanding and rare. An arresting virtue of his singing is supreme clarity of diction as well as intelligent impression on key words to convey a despairing, resolved or triumphant mood. His Il padre in act I, Giuriam in act II and All'armi in the arioso of act IV are typical examples. The powerful and coloured squillo at the end of the duet in act I, in the finale secondo, in the arioso and finale of act IV takes wings magnificently. The vibrant and animated Romantic character of Arnold is fully profiled by the sensitive, coloured and powerful voice of Salvatore.

Maria Chiara - With Mirella Freni, she was the typical Italian voice of lyrical caliber, fluid, limpid and gentle, which later acquired spinto qualities. Here, her overall singing including the top notes is sure and superb, although a very slight unsteadiness in the soft and middle notes does not go undetected. Her piercing sovracuto in the act I duet finale and finale ultimo is remarkable. She is handsome and reveals an envying slim figure in the elegant and gorgeous purple robe. She looks and sounds regal in the role of Mathilde, the Hapsburgs' Princess destined to govern Switzerland .

Antonio Salvadori - He is tall and cuts an imposing appearance as William, has a pulpy and well coloured voice. It is emitted with technical surety and clarity of diction. It is guided by class, lyrical sensitivity and intrinsic nobility. His Resta immobile in act III is poignant and deeply felt, deserving a longer applause than he got at the end of the aria. He follows the path of historical baritones such as Battistini and Ronconi.

Alfredo Zanazzo - The minor role of Walther does not render justice to this superb bass. The voice is huge and resounds like a church organ. It is led by a perfect emission. The timbre is dark, deep, personal and audacious. The expressive presence is statuesque, subjugating and composed. He would reach apices in prestigious Verdian roles such as Zaccaria, Padre Guardiano, Fiesco, The Great Inquisitor and Ramfis.

Nadine Asher - As Hedwige, she is a top mezzosoprano with technical surety and a voice which is extended, coloured and aggressive. Her scenic presence has rare energy and communication. The solo of Hedwige has expressive despair and the duet with

Mathilde both in act IV has lyricism and poignancy.

Margaret Chalker - Jemmy' suavity and innocence is beautifully conveyed by the young light soprano with a particularly sweet timbre. She is equally at home with the top notes, as shown in the finale of act I.

Peter Straka - As Rodolphe, the tenor is not a comprimario but an excellent  part character. The voice is powerful and impetuous enough to configure the cruelty of a tyrant's follower and holds its own with so much vocal talent around. His scenic personality mirrors a swashbuckling pirate of the celluloid.

Lynn Samohel

Salvatore Fisichella

(Arnold) - What a delight to see and listen to his Arnold. Salvatore is a powerful, manly tenor with a very wide vocal range and flexibility. The fact remains that, at the time of this recording, he was a rival to Pavarotti and Domingo. He acts brilliantly with his usual involvement and he sings with a lot of squillo. He has a rich tone and a commanding stage presence.

Maria Chiara

(Mathilde) - Chiara presents Mathilde in a regal performance. She sings with a lot of spontaneity, beauty and freedom. Her breath support is excellent. She builds a crescendo, note by note, propelling the melodies towards their points. She has a very mature and elegant stage presence.

Antonio Salvadori

(William) - Salvadori possesses a harmonious instrument with a good timbre. A large and expressive voice, ideally suited for the role of Tell. He has an imposing figure with a dramatic stage presence and impeccable diction.

Alfredo Zanazzo

(Walther) - He has a unique vocal quality and possesses a true and rich basso voice. His dark and powerful timbre is ideally suited to the role. He has charm and flexibility, with a noble quality to his voice.

Nadine Asher

(Hedwige) - A mezzosoprano with a consistent legato and forward placed voice, an expressive and very personal timbre.

Margaret Chalker

(Jemmy) - A pure and steady tone, singing with an easy and youthful quality of voice.

Peter Straka

(Rodolphe) - A tenor with a mature technique, impressive and elegant voice despite the fact that he sings the very minor role of Rodolphe.

Nello Santi

Conductor - Well known for pushing all the ensemble for nothing but the best. Musicians, singers and others are well involved. He succeeds in this production.

Stage sets - It is a very unusual and appealing presentation. Scenes can be changed without intrusion and many problems are resolved in seconds.

Overall, it is an ideally chosen opera for the 'Opera gems' first anniversary.

Credit Table (Total marks 20/20)

The total marks for the soloists are based on vocality and acting ability

tba   To be announced

j    Joseph

l    Lynn

k   Keith

a   Andrei

d   Dragos

m  Mihai

(j.f.)

The site's favourite quote

General George Armstrong Custer on the eve of the battle at the Little Bighorn (June 1876) cited:

”There is one thing to be said for glory - you can take glory with you, when it is your time to go”

Watch and listen to a sample video clip from Mefistofele act III - Margherita's death

The Panel
s.f. Salvatore Fisichella

l.s. Lynn Samohel

m.m. Michèle Muller

j.f. Joseph Fragala
g.m. Geoff Mallinson
a.t. Andrei Turcu
k.s. Keith Shilcock
d.t. Dragos Tomescu          m.b. Mihai Bogdan