The heroic tale of William Tell's symbolic leadership in freeing 14th century Switzerland from Hapsburg control is as timely now as it was in the Europe-in-transition of its debut in 1829.
The San Francisco Opera's "Celebration of Rossini" has produced what will surely be acclaimed as the high point of this year's worldwide observance of the bicentennial of Gioachino Rossini's birth on Feb. 29, 1792, in Pesaro, Italy.The composer's last and greatest opera was "Guillaume Tell," which was introduced in Paris on Aug. 3, 1829.
Based on a legendary character brought to international renown by a play of Friedrich von Schiller, William Tell symbolizes for Switzerland and the free world a major hero in the never-ending struggle against tyranny.
To many of even the most sophisticated opera lovers, "Guillaume Tell" has been little more than a popular overture, a soprano aria and a tenor role so formidable with its multiple high C's that the entire work is rarely produced.
Producers began to schedule Rossini bicentennial presentations of "William Tell" when a hefty Oklahoma tenor, Chris Merritt, appeared on the operatic scene several years ago.
With a voice more of steel than silver, Merritt tosses off the notes of reluctant Swiss patriot Arnold Melcthal with an ease that belies his accomplishment.
Signing the crucial tenor role was obvious, but the rest of the production required experience and not a little genius. In his role as San Francisco general director, Lotfi Mansouri struck gold in every crucial area.
New Music Director Donald C. Runnicles conducted with passion and complete control. For the title role, baritone Timothy Noble had the name, the dramatic intensity and the vocal fire. The soprano love interest was provided by Carol Vaness, who has become one of today's greatest singing actresses.
Two outstanding singers who have emerged through the Opera's training programs, soprano Janet Williams and bass Philip Skinner, made sensational impressions.
While Rossini's comic operas are universally admired, his serious works are generally flawed, however exciting some of the music may be. "William Tell" is the only one of the serious works to set new standards of greatness in vocal writing, emotional depth, harmonic invention and orchestral writing.
With its tale of great nobility and timeless meaning, Rossini's finest opera emerges as the most significant achievement of the San Francisco Opera in recent years, and a welcome discovery for the hundreds of visiting critics, scholars and visitors from home and abroad.
No Rossini celebration would be complete without his comic masterpieces, so Mansouri surrounded "Tell" with the evergreen "Barber of Seville" and the zany "Italian Girl in Algiers."
With Frederica von Stade offering her classic Rosina in the first opera and Marilyn Horne warming to her delectable Isabella, the title lady of the second, a warm reception was assured.
Now attention can shift from the Bay Area's magnificent celebration to Italy, where Pesaro will honor its native son Italian style, with a summer of operas and concerts for jet-setting fans the world over.