3 immortal pieces from the opera GUILLAUME TELL by Rossini- with the best interpretations from YouTube (Hits, Best of)

Although Rossini’s Tell is a great work, it is not often performed. The scenic complexity and casting difficulties are too great. Nevertheless, it is one of the most influential works in opera history, helping to found the modern tenor and grand opéra.

The beautiful romance “Sombre forêt” (“Selva opaca”)

Rossini composed for Mathilde a lyrical aria, sparingly and tenderly accompanied by the orchestra. It is one of the few scenes written “in the old Rossini style” with coloratura and leaps of tone.

This aria, with its urgent motifs and legato passages, seems written for Montserrat Caballé’s throat.

Selva opaca, deserta brughiera (Sombre forêt) – Caballé

Tell’s moving “Sois immobile”

Gessler now conceives the terrible idea that Tell should shoot the apple off his son’s head as punishment. When Tell refuses, Gessler orders the killing of the son. Tell throws himself pleadingly at Gessler’s feet, but the latter, laughing derisively, demands the apple shot. Moved, Tell blesses his son. He is handed the crossbow and the quiver, and secretly puts a second arrow in his jacket. Once again Tell goes to his son and asks him to stand quietly and pray to God.
Poignantly accompanied by the solo cello, Tell sings the moving words. The baritone’s voice goes up to F (“Jemmy! Jemmy!”) to express the father’s pain.

Resta immobile (Sois immobile) – Hampson

Arnold’s tour de force aria “Asile héréditaire” (“O muto asil”)

Arnold is at his father’s cottage. He remembers him and says goodbye to the place of his childhood.
Arnold’s lyrical aria, in combination with the cabaletta that follows, is one of the very most difficult tenor pieces in the operatic repertoire. It begins with a brief horn motif that represents the memory of Arnold’s youth. Within a few measures of the tenor’s entrance, he must sing an exposed B flat with another B flat two measures later. Rossini composes the pain of parting with a repeated heightening of the phrase “J’appelle en vain,” and the aria ends with a high C.

It continues with the infamous cabaletta “Amis, amis, secondez ma vengeance” (“Corriam! Voliam! S’affretti lo scempio”), which is peppered with 6 more high C’s, some of which must be held for a measure and a half to express Arnold’s ecstasy.
Pavarotti’s interpretation is dramatically drawn. His highs are spectacular but somewhat forced. Pavarotti showed great heart in taking on this role. However, he deliberately refrained from singing the role on stage. He knew that his voice would be damaged if he had to sing it a few days in a row.

O muto asil del pianto – Pavarotti