WNO: Guillaume Tell

[amateur51]

Thank you, Jean. It's nice to be vindicated after all these years. Apparently a Scot in the Crimean War transcribed it for pipes. Andy Stewart later added words ("green hills of Tyrol" should have given the game away…)

Many thanks Pabs & jean

[kernelbogey]

Copying my post from the BaL thread of the same name:

I saw the WNO production of Guillaume Tell last night in Southampton, having been to Mose in Egito the night before.

Tell has its longuers, as well as some lovely arias, notably for Mathilde and Arnold. This production also had six wonderful dancers, who performed in dance sequences which I assume Rossini included for Paris custom - this could have been cut, but I think added greatly to the gesamtkunstwerk - and they were used very creatively in other parts of the production. Also striking was that the opening cello solo of the overture was performed on stage by a spotlit principal, who, as the 'storm' section of the overture began was hustled away by Austrian guard chorus members; meanwhile a broken cello was flown from the flies. The solo cellist reappeared later onstage for a solo part; again a symbol for the spirit of independence.

So much was done by Pountney's production to dramatise the themes of liberty and the struggle for liberation from oppressions. I was struck, in the case of both operas, by a slight disjuncture between the underlying 'freedom' theme overlaid with a 'Romeo and Juliet' style of romantic storyline. In truth, Tell's part is rather dull, with the musical sparks coming largely from Arnold and Mathilde.

But there were moments when I was reflecting on the fundamental absurdity of opera and the suspension of disbelief required: mine faltered during the Act III scene in which Tell is required to shoot the apple on his son's head (the flight of the arrow ingeniously staged). Tell threatens Gesler, the hateful Austrian governor, while surrounded by the chorus as Swiss villagers, with Austrian guards on either side of him. He succeeds in holding these at bay with threatening gestures of his crossbow. In an age where swift retribution in entertainment is the norm, this implausibly prolonged self-defence overwhelmed my credibiility, and I had to accept that this was a 200-year old opera being staged.

There is much wonderful music in this work, and the WNO orchestra under Carlo Rizzi were on good form. I was pleased I went, enjoyed the experience, but wouldn't want to own it on disc.

[Don Basilio]

I'm looking forward to ROH next year/this season. In the meantime, I'll listen to the Gardelli recording to get to know it better.

[PhilipT]

From kb's #17: "In truth, Tell's part is rather dull, with the musical sparks coming largely from Arnold and Mathilde.".

I was also at both performances, and couldn't agree more! If I could go to one, and only one, again, I'd go to Moses in Egypt, just for the quartet (in, um, Act II Sc. 2?), and Tell with only one interval given the seating in the Mayflower was hard on the bum, but worth it all the same. (The lady next to me in the Stalls had brought her own cushion. Good move, that.)

There was one aspect of Tell that nearly drove me nuts - the audience's booing of Gesler at the end. The temptation to stand up and cry out "It isn't a pantomime, you morons!" was almost too great.

[jean]

That's just an acknowledgment of how well he played the villain. They always do it. They did at the Bristol performance (and I joined in - though I did worry about the easy association of evil with physical disability).

If they booed him during the performance, I'd agree you'd have something to complain about.

.

[VodkaDilc]

I had never seen the opera, but thoroughly enjoyed the performance when it came to Oxford. Some clever production touches and the orchestra in great form, as ever. The timpanist alone is worth the price of the ticket.

Like others here, I detest the silliness of booing the villain.

[Il Grande Inquisitor]

That's just an acknowledgment of how well he played the villain.

It was - and Clive Bayley certainly played up the panto/Bond villain role well - but it still makes me uncomfortable. I attended with a French colleague who was baffled and thought they were seriously booing his performance. "Can they not understand that they are supposed to applauding the performer and not the character?"

[Giacomo]

Like others here, I detest the silliness of booing the villain.

I fully agree. The first occasions I heard this I didn't understand and judging from the bemused looks from some performers suggest they don't always understand either. Even if it is explained that the audience contains childish morons it deprives the artist of the moment for real feedback, usually adoration.

Please don't boo the pretend villain, save it for the real villains - directors that serve bilge.

[jean]

They get extra loud applause at the same time, so nobody is bemused.

An Italian used to booing claques might find the practice confusing - but in this country, we're too polite to boo bad performances.

[Beef Oven!]

but in this country, we're too polite to boo bad performances.

Speak for yourself. I've booed bad performances, and I'm 'in this country'.

[jean]

You're just unusually rude, though.

[Beef Oven!]

You're just unusually rude, though.

What's that got to do with anything (assuming it were true, which it isn't)?

[Conchis]

Booing is naff but sometimes you need an outlet for your outrage. I once shouted 'Merde des chiens!' at the cast of a woeful Jacques Brel revue while they were taking their 'bows'.

[Beef Oven!]

Booing is naff but sometimes you need an outlet for your outrage. I once shouted 'Merde des chiens!' at the cast of a woeful Jacques Brel revue while they were taking their 'bows'.

Good grief!

I've never shouted that, not even at a punk gig!!!

[teamsaint]

Good grief!

I've never shouted that, not even at a punk gig!!!

I think I SAW them once at a punk gig, as a support band.