William Telll — REVIEWS

For having one of the most recognised overtures globally, it is a surprise to learn that Rossini’s William Tell left Australian shores in 1876 and only returns now in 2018 (Halley’s comet has a better track record).

At 5 hours in length, it is certainly palatable to learn that Victorian Opera’s Artistic Director, Richard Mills, has cut the production down to 3 hours with “unfussy, lucid staging”. The content of William Tell is explosive and powerful. It has the grandiosity in concept of Wagner’s work, but is concerned less with magic and more with the good fight of everyday citizens.

Guillaume Tell is a Swiss man fighting for the freedom of his people from the oppression of Austrian forces, and with scores of cast and chorus, the production needs one hell of a baritone to command the stage. Armando Noguera as Guillaume Tell is a revelation; he embodies the power, charisma and magnanimity to play the hero of this tale, and does so with enormous spirit. His voice is superb, and he is fortunate to be joined by the mesmerising Colombian tenor, Carlos E. Bárcenas, who plays Arnold, the son of the late elder Melcthal (Teddy Tahu Rhodes), is torn between the duty to his people and to his love for the Austrian princess Mathilde (Gisela Stille).

Bárcenas also had the mountainous task of the vocal range required of his role, and he managed the most gorgeous notes with real feeling. The feeling unfortunately did not translate between his character and that of Stille’s, and it was the love between father and son that really stole the show in the performances between Noguera and the marvellous soprano Alexandra Flood (Guillaume’s son Jemmy).

The tale follows the usual preparations for battle, and the tense encounters with darker forces; most notably, the infamous arrow to the apple scene, which left the audience wondering how Victorian Opera planned to stage such a complex magic trick. Unfortunately, the arrow did not pierce the apple, and it’s a surprise that Guillaume’s son was spared from the comically maniacal clutches of Austrian villain Gesler (Paolo Pecchioli). No doubt this will be rectified for future performances, and it will be a treat once achieved.

In terms of Rossini’s music, I would not say the production will be memorable for the sheer beauty of its pieces, despite an excellent orchestra conducted by the talented Mills. What will remain with me, however, is the large ensemble and its wonderful cohesion and power conveyed which was at times breathtaking. It is certainly an achievement by Director Rodula Gaitanou to maintain dramatic impact with such a vast cast. Having witnessed previous works of Victorian Opera, I would say this is a landmark for the company and showcases their capacity and ability to harness such a wealth of talented creatives from around the world.