Rossini in Paris

A music review by Shirley Politzer

When a master of storytelling, like Gioachino Rossini, composes choral music that speaks of struggles, oppression, joy, freedom and peace, those ideas resonate with an audience.

In his rarely performed William Tell, in the Act 1 highlights as chosen by Brett Weymark (Artistic and Musical Director) we see these emotions playing an important role.

The story is set in the Swiss Alps near Lake Lucerne and is based on historical events from which Switzerland dates its origins (the joining of three states of the Swiss Confederation). This dramatic Italian opera is a symbol of rebellion and of a tyrannical relationship with the Austrian leadership. Everyone knows how the story draws to an end with Tell being forced to shoot an arrow at an apple sitting on his young son’s head.

The opera is certainly most famous for its overture, the piece that sets the scene for it. Now widely recognised as the theme to the Lone Ranger, the tune also appeared in Stanley Kubrick’s 1971 film A Clockwork Orange as well as the cartoons Bugs Bunny, Mickey Mouse and the Flinstones.

The 12-minute Overture highlighted the talents of the Sydney Philharmonia Orchestra (SPO) as Rossini’s magical melodies and harmonies bounced around the orchestra. It started calmly with five cellos (sunrise), followed later by cor anglais (playing the alphorn tune) and finishing with the iconic galloping melody.

This performance starts at the end of Act 1 Scene 1, and the mood is positive, with the Chorus of Swiss Villagers expressing their joy about the 3 weddings to come.

This was followed by the duo of young Arnold Melchthal (Shanul Sharma) and William Tell (Nathan Lay), where we see how conflicted Arnold is between his love for the Austrian princess Mathilde and the love of his country. This luscious duet between Sharma (tenor) and Lay (baritone) was one of the many wow parts of this performance. Lay had a rich and warm tone, that capably blended and balanced so well with Sharma’s voice, which was lyrical and light- Sharma often standing on his toes when reaching effortlessly and expressively for the high notes! We were mesmerised. The audience couldn’t help themselves but to clap enthusiastically for this duet.

In the tragic Finale of Act 1, Jemmy (soprano Celeste Lazarenko), Hedwige (mezzo soprano Ashlyn Tymms) and Old Melcthal (baritone Leon Vitogiannis) strongly lead the orchestra and choir to the climactic conclusion with rhythmic vitality and rich sound.

Well done to the amateur 400-strong Festival Choir for their capable singing in the French language for this opera, especially in the fast sections.

Moving from Rossini’s last composed opera, to his final sacred work Petite Messe Solennelle written 34 years later, we see yet another side of this Italian composer, who is best known for his comic operas such as The Barber of Seville and Cinderella.

This work is neither small nor solemn as the title would suggest. It is religious music that is still quite operatic, sung in Latin, filled with magnificent showstopper melodies and harmonies displaying Rossini’s vivid musical imagination.

The Mass opens quietly with the Kyrie. The choir worked the polyphony and accenting so well here. The organ, played by David Drury, was introduced in the brighter Gloria which features all the soloists.

In Drury’s solo Prelude religieux, the organ was given its own spotlight together with purple mood lighting on the organ pipes looking spectacular in the Sydney Opera House Concert Hall. David wore long tails and looked and sounded very much a character that belonged in The Phantom of the Opera!

So many special highlights- the etherial Qui tollis duet between Lazarenko and Tymms featuring harp on either side of the stage; the expressive trio in Gratias; the rich bass solo sung by Nathan Lay and the exciting finish to part 1, the fugal Cum Sancto, with the choir accelerating, (as Rossini loved to do) to a momentous Amen. The Sanctus sung by the quartet

included some excellent a cappella (unaccompanied) singing, while in the solo O Salutaris, Lazarenko wooed the audience with her gentle vibrato and silky tone. The Finale of Act 1 ended with Tyms and the choir passionately singing with true conviction the Agnus Dei.

Conductor Brett Weymark, seemingly dancing from side to side in the faster music, directed his 500 musicians decisively. Weymark’s vision of joining the Festival Chorus with the Opera Australia Chorus and Opera Australia Young Artists for these two fabulous works was an emotional and momentous collaboration for him and must be deemed a great success.