William Tell (; ) is a French-language opera in four acts by Italian composer Gioachino Rossini to a libretto by Victor-Joseph Étienne de Jouy and L. F. Bis, based on Friedrich Schiller's play Wilhelm Tell, which, in turn, drew on the William Tell legend. The opera was Rossini's last, although he lived for nearly 40 more years. Fabio Luisi said that Rossini planned for Guillaume Tell to be his last opera even as he composed it.Interview on Toll Brothers Metropolitan Opera broadcast of Guillaume Tell, rebroadcast on 18 March 2017. The often-performed overture in four sections features a depiction of a storm and a vivacious finale, the "March of the Swiss Soldiers".
Paris Opéra archivist Charles Malherbe discovered the original orchestral score of the opera in the hands of a second-hand bookseller, resulting in its being acquired by the Paris Conservatoire in 1898.[ "(untitled, preceding 'Foreign Notes)], The Musical Times, vol. 39, no. 663, May 1898, p. 339. Via Google Books. Retrieved 4 May 2025.
Performance history
Guillaume Tell was first performed by the Paris Opéra at the Salle Le Peletier on 3 August 1829, but within three performances cuts were being made and after a year only three acts were performed. The opera's length, roughly four hours of music, and casting requirements, such as the high range required for the tenor part, have contributed to the difficulty of producing the work. When performed, the opera is often cut. Performances have been given in both French and Italian. Political concerns have also contributed to the varying fortunes of the work.
In Italy, because the work glorified a revolutionary figure against authority, the opera encountered difficulties with the Italian censors, and the number of productions in Italy was limited. The Teatro San Carlo produced the opera in 1833, but then did not give another production for around 50 years. The first Venice production, at the Teatro La Fenice, was not until 1856. By contrast, in Vienna, in spite of censorship problems there, the Vienna Court Opera gave 422 performances over the years 1830 to 1907. As Hofer, or the Tell of the Tyrol, the opera was first performed at Drury Lane in London on 1 May 1830 (in English), with a production in Italian following in 1839 at Her Majesty's, and in French at Covent Garden in 1845. In New York, William Tell was first presented on 19 September 1831. It was revived at the Metropolitan Opera in 1923 with Rosa Ponselle and Giovanni Martinelli, and there were revivals during the 1930s in Milan, Rome, Paris, Berlin and Florence. When the opera was performed at Gran Teatre del Liceu (Barcelona) in 1893, an anarchist threw two Orsini bombs in the theatre.
In the later 20th century there were major productions in Florence (1972), Geneva (1979, 1991), La Scala (1988), Théâtre des Champs-Élysées (1989), Covent Garden (1990), and then Opéra Bastille (2003) as well as at the Sportspalace in Pesaro (lasting over 5 hours, 1995). In 2010 there was an important revival of the opera, when it opened the Accademia Nazionale di Santa Cecilia's season, under Antonio Pappano."Report from Santa Cecilia", 3 September 2010, on santacecilias.it This performance was of the French version, with some cuts to particularly the fourth act (which Pappano noted had been approved by Rossini himself).Pappano, Antonio, (15 July 2011), "Proms take a bite of William Tell", The Guardian (London) A live recording of this concert performance was released in 2011, and the production was transferred to The Proms in July of that year, with Michele Pertusi taking on the title role, Patricia BardonPatricia Bardon on Opera Rara as Hedwige, Nicolas Courjal as Gessler, and Mark Stone as Leuthold. The performance was very well reviewed, and marked the first full performance of the work in the history of the Proms.Seckerson, Edward, (17 July 2011), "Prom 2: Rossini – William Tell, Royal Albert Hall, London", The Independent (London).
A co-production by the Dutch National Opera and the Metropolitan Opera New York of the opera in the original French opened at the Met in October 2016 with Gerald Finley in the title role.
According to an anecdote, when an admirer told the composer that he had heard his opera the previous night, Rossini replied "What? The whole of it?". Another version of the story refers only to act 2. In 1864 Offenbach quoted the patriotic trio from act 2, "Lorsque la Grèce est un champ de carnage" in La belle Hélène.
Overture
The famous overture to the opera is often heard independently of the complete work.Kirby, Percival R., "Rossini's Overture to William Tell" (April 1952). Music & Letters, 33 (2): pp. 132–140. Its high-energy finale, "March of the Swiss Soldiers", is particularly familiar through its use in the American radio and television shows of The Lone Ranger. The overture was prominently featured in the 1935 Walt Disney cartoon The Band Concert starring Mickey Mouse and Donald Duck. Several portions of the overture were used prominently in the films A Clockwork Orange and The Eagle Shooting Heroes; in addition, Dmitri Shostakovich quotes the main theme of the finale in the first movement of his 15th symphony. The overture has four parts, each linked to the next:
"The Prelude (Dawn)" is written only for the cello section (including parts for five soloists), the double basses, and the timpani, in a slow tempo and in E major. "The Storm" is a dynamic section played by the full orchestra, with backup from the trombones, in E minor. The "Ranz des Vaches", or "call to the dairy cows", features the cor anglais (English horn) and the flute. It is in G major. The finale ("March of the Swiss Soldiers") is an ultra-dynamic "cavalry charge" galop heralded by horns and trumpets, and is played by the full orchestra in E major.
Roles +RoleVoice typePremiere cast, 3 August 1829Conductor: Henri ValentinoManuscript letter with Rossini's autograph signature from Rossini to Valentino (Paris, 9 August 1829), thanking Valentino for preparing and conducting the orchestra (BnF catalogue général – Notice bibliographique); ; ; ; ; . Some authors have credited François Habeneck as the conductor: ; ; ; ; .Guillaume TellbaritoneHenri-Bernard DabadieHedwige, his wifemezzo-sopranoMlle MoriJemmy, his sonsopranoZulmé DabadieMathilde, a Habsburg princesssopranoLaure Cinti-DamoreauArnold MelchtaltenorAdolphe NourritMelchtal, his fatherbassMonsieur BonelGesler, the Austrian Governor of the cantons of Uri and SchwyzbassAlexandre PrévostWalter FurstbassNicolas LevasseurRuodi, a fishermantenorAlexis DupontLeuthold, a shepherdbassFerdinand PrévôtRodolphe, Captain of Gesler's guardtenorJean-Étienne-Auguste MassolA hunterbaritoneBeltrame PouilleyPeasants, shepherds, knights, pages, ladies, soldiers, bridal couples
Instrumentation The instrumentation is: Woodwinds: a piccolo, a flute, 2 oboes (1st doubles cor anglais), 2 clarinets in A and 2 bassoons Brass: 4 horns (2 in G and 2 in E), 4 trumpets in E and 3 trombones Percussion: 2 timpani, triangle, bass drum, cymbals, bell and tam-tam Strings: first violins, second violins, viola, violoncelli, double basses, 2 harps On stage: 4 horns
Synopsis Place: Austrian-occupied Switzerland Time: 13th century
Act 1
By the shore of Lake Lucerne, at Bürglen in the canton of Uri
It is the day of the Shepherd Festival, in May, near Lake Lucerne. The action opens on an idyllic scene, with the local peasants busily preparing chalets for three newly wedded couples, singing as they work (Quel jour serein le ciel présage – "What a serene day the sky foretells"). The fisherman, Ruodi, sings a gentle love song from his boat (to orchestral accompaniment from the harps and flutes). Tell stands apart from the general merriment and laments Switzerland's continued oppression by the Austrian Habsburgs (Il chante, et l'Helvétie pleure sa liberté – "He sings, and Helvetia mourns her liberty"). His wife and son add their own interpretation of Ruodi's song, presaging the coming nautical dramas.
The activities are interrupted by the ranz des vaches resounding from the hills (often performed by off-stage horns, and echoing in its theme the ranz de vaches in the opera's overture). The horns also signal the arrival of Melchthal, a respected elder of the canton. He is persuaded by Hedwige to bless the couples at the celebration. However, his son Arnold, though of marriageable age, is not participating and is evidently uncomfortable. The entire on-stage cast sings in celebration (Célebrons tous en ce beau jour, le travail, l'hymen et l'amour – "Let all celebrate, on this glorious day, work, marriage and love"). Tell invites Melchthal into his chalet; before they move off, Melchthal chides his son for his failure to marry.
His father's rebuke provokes an outpouring of despair from Arnold: in his recitative we learn of his previous service in the forces of the Austrian rulers, his rescue of Mathilde from an avalanche, and the conflict between his love for her and his shame at serving the "perfidious power". Horn fanfares herald the approach of Gesler, the Austrian governor, whom the Swiss detest, and his entourage. Arnold moves off to greet their arrival, as Mathilde will accompany them, but is stopped by Tell. Inquiring as to where Arnold is going, Tell persuades him to consider joining the planned rebellion against the governor. The expressive duet in which this takes place again shows the tension Arnold feels between his love for Mathilde and the "fatherland" (Ah! Mathilde, idole de mon âme!...Ô ma patrie, mon cœur te sacrifie... – "Ah, Mathilde, idol of my soul...O my fatherland, my heart sacrifices to you..."). By the end of the exchange, Arnold is prepared to confront Gesler the moment he arrives; Tell persuades him to at least let the festival pass in peace, but knows he has gained a convert to the cause of freedom.
The villagers then reassemble, and Melchthal blesses the couples. The blessing is followed by singing, dancing and an archery contest that Tell's young son Jemmy wins with his first shot – a result of his "paternal heritage". It is Jemmy who notices the hurried approach of the pale, trembling and wounded shepherd, Leuthold, who killed one of Gesler's soldiers to defend his daughter and is fleeing the governor's forces. He seeks to escape to the opposite shore, but the cowardly Ruodi refuses to take him in his boat, fearing that the current and the rocks make approaching the opposite bank impossible. Tell returns from searching for the departed Arnold just in time: even as the soldiers approach, calling for Leuthold's blood, Tell takes Leuthold into the boat and out onto the water. Gesler's guards arrive, led by Rodolphe, who is further incensed by the villagers' prayers and their evident joy at the escape. Melchthal urges the villagers not to tell Rodolphe who it was who aided Leuthold, and is taken prisoner by the guards. As Rodolphe and the soldiers promise retribution (Que du ravage, que du pillage sur ce rivage pèse l'horreur!), Tell's family and friends take comfort in Tell's skills as an archer, which will surely save them.
Act 2 On the heights of Rütli, overlooking the Lake and the Cantons