Rossini: William Tell

Editorial Reviews

All Music Guide - Stephen Eddins
Antonio Pappano's recording of "Guillaume Tell" with Accademia di Santa Cecilia Orchestra and Chorus is the first commercial recording of the authoritative 1994 edition of the opera by M. Elizabeth C. Bartlet. At three and half hours, it is essentially compete, with only a few cuts the composer had sanctioned. The performance, recorded live at 2010 concert presentations, reveals the seldom-heard opera as a masterpiece that deserves a place in the repertoire. It was Rossini's last opera, and it both summarizes his mastery of musical drama and moves opera into new directions that were to influence both Verdi and Wagner. The finale is a remarkable moment, unlike quite ...
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Editorial Reviews

All Music Guide - Stephen Eddins
Antonio Pappano's recording of "Guillaume Tell" with Accademia di Santa Cecilia Orchestra and Chorus is the first commercial recording of the authoritative 1994 edition of the opera by M. Elizabeth C. Bartlet. At three and half hours, it is essentially compete, with only a few cuts the composer had sanctioned. The performance, recorded live at 2010 concert presentations, reveals the seldom-heard opera as a masterpiece that deserves a place in the repertoire. It was Rossini's last opera, and it both summarizes his mastery of musical drama and moves opera into new directions that were to influence both Verdi and Wagner. The finale is a remarkable moment, unlike quite anything that had come before it in opera, resplendently Wagnerian in the luminous, cathartic serenity of its depiction of the Swiss peoples' joy at being freed from a century of Austrian oppression. Gerald Finley is splendid in the title role. He projects nobility and humanity, and his singing is nuanced, powerfully ringing, and warm. The bulk of singing falls not to Tell, but to the morally complex Arnold, sung by tenor John Osborn, who handles the long, arduous, dramatic, and high-lying role with distinction. His voice is not large, but he conveys an Italianate ardor and maintains an appropriate lyrical intensity throughout. Soprano Malin Byström as Mathilde delivers a less-even performance. When she is highlighted, as in her second-act solo "Sombre forêt" and extended scene with Arnold, she tends to sound forced and labored, but otherwise, when she is interacting as part of the ensemble, she seems considerably more relaxed, and by the fourth act her singing is eloquent and assured. In the significant role of Jemmy, Tell's son, Elena Xanthoudakis is entirely convincing, singing with youthful energy and winsome simplicity. The large supporting cast is uniformly excellent, and the excitement generated by the characters' interactions is terrific, particularly in the fabled scene in which Tell is compelled to shoot an apple off his son's head. The chorus plays an unusually large role and sings with dramatic urgency and sumptuous tone. Pappano draws gorgeous, stylish, graceful playing from the orchestra and creates tremendous excitement in the dramatic moments. The sound of the recording is consistently well-balanced, clear, and resonant, and the audience and page-turning noises are only minimally distracting. Highly recommended for anyone who loves opera.
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Product Details

  • Release Date: 8/9/2011
  • Label: Warner Classics
  • EAN: 5099902882628
  • Catalog Number: 28826
  • Sales rank: 171,347

Tracks

Disc 1
  1. 1–66 Guillaume Tell (William Tell), opera - Gioachino Rossini & Carlo Bosi (207:41)
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Album Credits

Performance Credits
Antonio Pappano Primary Artist
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