Interludes

THE HANGOVER REPORT – The Met’s stylish new production of Rossini’s epic GUILLAUME TELL impresses with its superb cast

• By drediman
• November 15, 2016
• No Comments

The company of “Guillaume Tell” at The Metropolitan Opera

It’s been about 85 years since The Metropolitan Opera has staged Guillaume Tell, Rossini’s epic 39^th and final opera. With the quality of the cast that the mighty Met has assembled for the opera’s long overdue return, it might just have been (almost) worth the wait. Although I have some minor qualms about Pierre Audi’s stylish new production – which just ended its brief run – there was no doubt that the level of the singing up and down the large cast was top notch.

Let’s talk about Mr. Audi’s staging first. It’s certainly striking to look at (sets by George Tsypin, costumes by Andrea Schmidt-Futterer), and the clean lines and daring perspectives of the designs would feel right at home at one of New York’s many art galleries. However, I found that overall the production lacks the specificity and the necessary tension to make the eventful – and timely – plot about revolution and the intersection between the political and the personal truly sing. But gosh, it’s all so stunning to look at.

That being said, the singing, as mentioned, was just superb. In the title role, bass-baritone Gerald Finley sounded and acted stately and powerfully, as befitting the character. As the two lovers caught in the middle of the throes of political strife, tenor Bryan Hymel and especially soprano Marina Rebeka sang with ringing clarity and thrilling urgency. Rounding out the deluxe cast were bass-baritone John Relyea as the opera’s political oppressor and bass Kwangchul Youn as the revolutionaries’ revered elder; both were in very fine voice, too. Conductor Fabio Luisi led a lush account, thanks to excellent playing by the Met Orchestra, of Rossini’s mammoth score.

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GUILLAUME TELL
Opera
The Metropolitan Opera
4 hours, 30 minutes (with two intermissions)
Closed