This is a tale of oppression and heroic rebellion, with an epic score and demanding vocal roles. But not too demanding for the cast of this Irish National Opera and Nouvel Opéra Fribourg co-production. With strong performances by the leads and chorus, they ensure that Rossini’s musical vision is given new life in this triumphant rendition of William Tell. Those on and off the stage use their story-telling tools with purpose and dedication to bring this opera to the epic heights it demands. As Fergus Sheil, Artistic Director and Conductor, writes in his introduction of the William Tell programme: “singers sing, dancers dance and musicians play.” In this production, through these means and more, the demanding opera that is William Tell is done justice. 

Immediately grabbing my attention was the set and costume design- this was a minimalist window into the world and characters of William Tell. The plain white set was mostly empty, except for the presence of the performers on the stage. The purposeful use of opaque curtains, lighting and costume design provided distinctive atmospheres that were at times joyous and natural, and at other times dark and sinister. An outline of the Swiss Alps was beautifully conveyed by the lighting rig. Soft, warm lighting again gave a sense of the surrounding weather and tranquillity, completing a serene picture. Compare this with an empty, cold set- dark but for a few vague spotlights to convey glimmers of light in the forest where a lone Arnold stands. These totally different settings  were achieved with subtle and effective changes to the set. 

The co-existence of villagers and nature was pleasantly actualised through costumes that both matched the set colours and gave animal qualities to some of the villagers. These cream and white colours symbolising the peaceful world of our hero and his people were contrasted strikingly with the violent red colours of the villains of this production. The moral divide, sharply realised through costume and set design, allowed for the simple addition of blood on the villagers’ costumes to cement the feeling of Tell and his people’s suffering and oppression. 

The large prop apple, which acted as a blindfold in fitting over Jemmy’s head, was another major success of the set design team- giving the scene a large boost in tension due to the overlap of apple and head, despite many, including myself, knowing the plot’s conclusion in the present day. The execution of Tell’s shooting the arrow off Jemmy’s head fell a little flat, with the previously mentioned take on the apple prop perhaps not leaving many options. The highs do outweigh the lows here, though.

Such purposeful design deserves powerful lead performers, and I can safely say it got what it deserved. Brett Polegato delivered a charismatic, commanding performance as Guillaume Tell. At times stoic and hardy, other times full of emotion and turmoil- but always engaging and easily holding the attention of the whole room. His was a performance I could admire in its leadership and sympathise with in its plight, with stunningly honest and emotional vocals- what more could one ask for in such a role.

Jesús León’s Arnold was a stand-out performance for me, showing youthful energy and honest emotion to compliment Tell’s more measured heroism. León’s vocals brought so much heartbreak and anguish, with Arnold’s loss of his father and especially his difficult love for Mathilde- I believed every moment of it. León knows how to bring his all to a performance without ever overshadowing Tell negatively, which is a testament to his sensible portrayal of this character.

Máire Flavin brought leading qualities to her role as Mathilde, effortlessly engaging with what for many would surely be impossibly difficult vocals. Flavin gave us insight into a character who had very introspective moments alone on stage, providing delicacy and power with equal attention to detail.

Amy Ní Fhearraigh was another excellent artist who performed the role of Jemmy, Tell’s son, with subtle boyish physical acting and exceptional vocals. I think, specifically, of when Jemmy calls to Tell in Act 3 to remain without fear and that he trusts him to make the shot- a hugely touching moment that Ní Fhearraigh nails amid a great performance.

A special note must be made of the dancers and orchestra throughout the production. From the very beginning of this opera, the orchestra and their conductor, Fergus Sheil, were on top form. Whether it be ferocity, sensitivity, epic scale, or subtlety- the musicians were right there providing a fantastic score with all the focus and talent it demanded. As for the dancers, they delivered gorgeous and expressive choreography. Through this, the elements of nature- the forest, the wind, the animals, the people- all were conveyed impactfully, filling out the stage with their talent. There were moments of childlike play, of both contemporary and ballet styles, not to mention in the later acts some much more damaged, oppressed and even injured performances: heightened with bloody costumes and, at one point, masks). The show was brilliantly performed and choreographed, a fantastic aspect of this production.

This was the first time Rossini’s opera had been performed in Ireland for 145 years and, needless to say, William Tell is back with a bang.