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| Fighting over the future: Guillaume Tell, Act III. Photo © Bayerische Staatsoper |
A confession, with apologies to those whose opera-related obsessions center on bel canto: thrillingly-sung Rossini is not a phrase that ordinarily trips from my tongue. For Wednesday night's performance of
Guillaume Tell at the Bayerische Staatsoper, however, no less a word than thrilling would do. I went in with few concrete expectations, but I'd never heard Michael Volle live before, and having heard Bryan Hymel live once, I couldn't pass up the chance to do so again. So, after a morning on a train and an afternoon in the archives, I found myself directly under the ceiling of the sold-out house; following the example of fellow-students in the last row, I clambered up on the railing in front of our seats in order to see (disclaimer: my view was partial due to the angle, and occasionally interrupted due to the fact that my calf muscles could not handle constant rail-balancing.) Despite a production more impressive in concept than in execution, it was a musically and emotionally engaging evening, in which all the principal singers gave performances of remarkable passion and precision.
