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An overture ranging in to history
David Kempster as William Tell and his trusty crossbow. Picture: Richard Hubert Smith William Tell
Welsh National Opera
***** FROM the original play by Schiller,
William Tell, was first seen in Paris in 1829 and 185 years on Welsh
National Opera bring Rossini’s classic, and its most famous of
overtures, to a twenty-first century audience. The opera tells story of Tell, a Swiss patriot,
fighting against Austrian rule from the governor, Gesler. It is a gripping tale of rebellion to free
Switzerland from Austrian rule and part of WNO’s Liberty or Death
autumn season with Carmen and Moses in Egypt, performed
earlier in the week. The opera is full of action as it tells its
moving story over three and a half with David Kempster in the title
role as the pauper patriot. Tell has a huge ambition to protect both his
country and his family. Kempster’s talent showed an emotional and
touching connection with Tell taking the audience on his moving journey
with him. Similarly, the character of Arnold, son of
Melcthal, played by the roaring Barry Banks gave an inspiring portrayal
of a bold and loyal man. Banks’ approach to Arnold’s character was a
pleasure to behold. The emotional range of this epic story is clear
as the audience are carried along on Tell’s journey from act to act.
When we finally see Gesler, the governor of Austria, there is a strong
dynamic from Clive Bayley who played the commanding leader was played
with perfect expertise. Director David Poutney relays this stirring tale
with incredible ease. One example of this is through the use of the
wonderful WNO chorus, who were an asset to the whole production. Creating the atmosphere of each scene from act to
act, the ensemble were the driving force to keeping the story alive.
They moved the story forwards with bountiful energy and gave great
credibility to Poutney’s vision. There we also gripping performances from the
women of the cast, including Camilla Roberts who had a wonderful
approach to Mathilde and Fflur Wyn who played William Tell’s young son,
Jemmy. Of course, an addition to this awe-inspiring
opera was the tremendous and multi-functional set. Two high gauzes made of steel were used as to set
each scene and produce the appropriate atmosphere, along with the
orchestra as the backbone to this. The set was later turned around,
revealing a tall steel frame, giving the allusion of an oppressive and
cold atmosphere under Gesler’s rule. Grey costumes and dark lighting
showed the demise and loss of hope for Switzerland. The addition of physical art with dancers was
another entertaining factor to the already gripping opera. Dancers Megan
Griffiths, Sophia Preidel, Sophy Ribrault, Kit Brown, Nicolas Keegan and
Pim Veulings certainly injected a deeper sense of emotion to the moving
tale. The artistic elements created by the dancers
allowed the audience to connect even more with the story. The dancers
had the power to make us roar with laughter, especially in a humorous
sequence of marriages of young couple’s of Tell’s Swiss village. Equally, the dancers also portrayed the dark and
hard-hitting moments, specifically in acts two and three where Gesler’s
regime took their rule. There was an uplifting end to the tale of huge
emotion completing a colossal journey with Gesler’s defeat in the final
sequence. Here we saw the entire cast take a stand on stage with
inspiring song in a beautiful end to the touching production. Welsh National Opera’s style makes opera
accessible to all and William Tel’sl is a moving story and the excellent
WNO orchestra, under conductor Carlo Rizzi, and cast make it nothing
short of entertaining from beginning to end. Elizabeth Halpin
22-11-14
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