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Thread: Favorite William (Guillaume) Tell on CD/DVD

  1. #16
    Senior Member Dick Johnson's Avatar
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    Quote Originally Posted by gvn View Post
    The beauty of the Gardelli and Chailly CD sets is that each of them brings out one of those two aspects. The Gardelli set, with its French refinement, highlights the work's conservatism; the Chailly set, with its Italianate slancio, highlights its radicalism. And each of them has precisely the cast suited to its approach. If you moved either Bacquier or Gedda into the Chailly set, and either Milnes or Pavarotti into the Gardelli, the effect would be spoiled.

    Consequently, I personally want both of those sets!

    I would rank both those CD sets well above any of the DVDs, where the casts aren't so harmoniously integrated and the visuals seem to me slightly out of touch with the approach adopted by the conductor & performers. I suspect better stagings may have been filmed than any of those released on commercial DVD. Often the case, of course, in the realm of opera!
    Totally agree with all of this. Tell is one of my favorite operas. There are several great recordings. In particular, I would not want to be without the Chially for Pavarotti and Milnes and the Gardelli for Caballe. I have searched in vain for a well made non-regie production on DVD or streaming. The Florez and Rebeka DVD that was filmed at the Rossini Opera Festival has great singing but the staging was a distraction for me (just like all other recent productions that I have seen). For any opera directors out there: maybe try setting Tell in Switzerland in the 13th century. Sounds crazy but it might just work!

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  3. #17
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    Good to talk about good things, i'd just like to reiterate that, with many things that are a bit subpar, the Muti/La Scala has Cheryl Studer singing almost at Caballe's level. Really something for which I go back just to hear those portions of the work, the Sombre Foret or whatever it is in Italian.

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  5. #18
    Senior Member Rogerx's Avatar
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    Sorry wrong thread
    Last edited by Rogerx; Jul-31-2021 at 06:05.
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    Senior Member SixFootScowl's Avatar
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    This arrived Monday and I have been listening to it multiple times all week. It is wonderful. I am fairly new to this opera having had a DVD in my unwatched pile for four years then watched it a couple weeks ago (Florez and Rebeka). I was hooked. Now have the Muti DVD set with Studer and can't wait to start that. Meanwhile this CD set is awesome. I was burnt out on Rossini until this. This may be one of Rossini's best operas. I notice musical parts in this that will remind me of bits of other Rossini operas, but also there are places where the singing reminds me of Donizetti and parts from his three queen operas. Not sure how that is, maybe just me, or does anyone else get that feeling. Also love having the ballet parts. I don't recall ballet music from any other Rossini Operas that I have listened to.
    Last edited by SixFootScowl; Jul-31-2021 at 05:27.
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    Also love having the ballet parts. I don't recall ballet music from any other Rossini Operas that I have listened to.
    [/QUOTE]

    I turn my nose up at most of the ballet in Italian opera of this period, I guess because I need something to turn my nose up at? The ballets here are spectacular, especially the first, the kind of whirling counterpoint in the lower strings is just so wonderful.
    I've also recently discovered that perhaps the ballet sequence in Macbeth is better music than I knew.
    Live and learn.
    There's a big ballet sequence in Moise also, not as impressive.
    Tell does require a bit of a dedicated approach, it is a BIG piece, as big as and rewarding as Les Troyens for me.
    Last edited by mparta; Jul-31-2021 at 14:27.

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  10. #21
    Senior Member SixFootScowl's Avatar
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    Quote Originally Posted by mparta View Post
    There's a big ballet sequence in Moise also, not as impressive.
    Tell does require a bit of a dedicated approach, it is a BIG piece, as big as and rewarding as Les Troyens for me.
    I have a couple CDs but never got into the Moses opera, perhaps because I need a good DVD to really get me going. Actually I have two different Moses operas: Mose in Egitto (Scimone) and Mose (Sawallisch). I think they are different versions of the same opera. Or is there another? You mention Moise. Maybe just a different spelling for Mose.
    Last edited by SixFootScowl; Jul-31-2021 at 16:27.
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    Senior Member Azol's Avatar
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    Quote Originally Posted by SixFootScowl View Post
    I have a couple CDs but never got into the Moses opera, perhaps because I need a good DVD to really get me going. Actually I have two different Moses operas: Mose in Egitto (Scimone) and Mose (Sawallisch). I think they are different versions of the same opera. Or is there another? You mention Moise. Maybe just a different spelling for Mose.
    They are actually quite different versions, even main characters' names are different
    If you are looking for a DVD version then look no more, it's superb!!!

    71tWKgdZS2L._SL1024_.jpg
    Last edited by Azol; Jul-31-2021 at 16:54.

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  13. #23
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    Quote Originally Posted by Azol View Post
    They are actually quite different versions, even main characters' names are different
    If you are looking for a DVD version then look no more, it's superb!!!

    71tWKgdZS2L._SL1024_.jpg
    It's ok, but the Paris (I mean a performance taped at the Palais Garnier) version with Ramey, Gasdia and Verrett is much, much better. I find Abdrazakov dull, especially once I've heard Ramey. There is a hard to find CD version on Myto but I think House of Opera has the Paris for DVD. The film is a little challenged but the performance is really a knockout.

    I should have written Moise et Pharaon, I sort of know the sequence but have trouble keeping it in my head since I really only listen to the French, Moise et Pharaon.

  14. #24
    Senior Member Azol's Avatar
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    In fact, I wasn't aware that Paris DVD existed. In this case it's preferable without question.
    Last edited by Azol; Jul-31-2021 at 18:47.

  15. #25
    Senior Member vivalagentenuova's Avatar
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    I agree with the fans of this opera that it is both Rossini's best and one of opera's best.

    In addition to the great recordings mentioned above, there are some lesser known recordings. These are less complete, but very worth checking out. There's a Fonit Cetra studio recording from 1952, with Giuseppe Taddei, Rosanna Carteri, Mario Filippeschi, and Giorgio Tozzi, conducted by Mario Rossi. Quite a cast! There's also a Myto live performance in very good sound conducted by Nino Sanzogno with Paolo Silveri, Anna Maria Rovere, Mario Filippeschi, and Raffaele Arie. Again, a wonderful cast with the vocal chops to really sing this incredibly demanding piece. The former is unfortunately very difficult to get at a reasonable price, but the latter is available.

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  17. #26
    Senior Member Rogerx's Avatar
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    Sjostakovitsj: Lady Macbeth van Mtsensk.

    Eva-Maria Westbroek (Katerina), Lani Poulson (Sonjetka), Carole Wilson (Aksinja - Een gevangene), Christopher Ventris (Sergei ), Ludovit Ludha (Zinovij), Valentin Jar (De onderwijzer), Alexandre Kravets (Een verlopen boer), Nikita Storojev (Politiechef), Alexandre Vassiliev (Pope - Wachter), Vladimir Vanajev (Boris - Oude gevangene), e.a., Koor van De Nederlandse Opera, Koninklijk Concertgebouworkest
    Dirigent: Mariss Jansons.
    Regie: Martin Kusej.
    “Never argue with an idiot. They will drag you down to their level and beat you with experience.” ― Mark Twain

  18. #27
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    Quote Originally Posted by Rogerx View Post


    Sjostakovitsj: Lady Macbeth van Mtsensk.

    Eva-Maria Westbroek (Katerina), Lani Poulson (Sonjetka), Carole Wilson (Aksinja - Een gevangene), Christopher Ventris (Sergei ), Ludovit Ludha (Zinovij), Valentin Jar (De onderwijzer), Alexandre Kravets (Een verlopen boer), Nikita Storojev (Politiechef), Alexandre Vassiliev (Pope - Wachter), Vladimir Vanajev (Boris - Oude gevangene), e.a., Koor van De Nederlandse Opera, Koninklijk Concertgebouworkest
    Dirigent: Mariss Jansons.
    Regie: Martin Kusej.
    Probably my least favorite Guillaume Tell, too much thigh.


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  20. #28
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    Quote Originally Posted by mparta View Post
    Probably my least favorite Guillaume Tell, too much thigh.

    I theem to remember there have alwayth been complainth about the thighs of Guillaume Tell.

  21. #29
    Senior Member Azol's Avatar
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    I was re-listening to both of my Tells - Gardelli and Chailly (the so-called "French" and "Italian" ones) back to back, "burning in" my new amazing Grado GW100. It's been quite some time that I enjoyed these recordings - and they still don't have much competition up to these days, do they?

    Okay, I wouldn't want to be without any of the two. Both have their strengths and weaknesses.

    "French" Tell is an amazing cast, I dare say more consistent than its "Italian" counterpart. Opera really sounds "French", more delicate and exquisite (some of you define this as "boring", hehe). Bacquier is great baritone but his Tell is not particularly memorable. Caballe is flawless but bland. Gedda is my type of hero, sometimes rough around the edges but his authority over the role is complete. Rossini is merciless (as usual) but Gedda really pulls all the stops and negotiates his part with ease.

    As soon as I switch to Chailly and his brilliant orchestra things quickly change - "Italian" Tell sounds fresh, exciting, amazingly infectious (especially during the ballet sequence of Act 3). "This is true Italian opera", says I. Milnes is not perfect (the way he distorts some vowels here is legendary, trust me!) but what a world of difference! "Resta immobile" with obbligato cello is so amazing it makes my eyes wet with tears, it's glorious! Pavarotti is very good, but I miss Gedda's approach. Top notes are somewhat strained (and no, it doesn't sound right in Act 4, Gedda has upper hand here, sorry Pav fans!) Freni is no Caballe from purely technical viewpoint, but she tries her best to bring emotion and drama to her singing - not always perfect but thrilling nonetheless. Mazzoli (Gessler) is downright terrible - the main problem with the cast. His voice sounds aged, wobble and all, just ugh.

    What can I say? Both recordings are must-haves but I guess some people would prefer one over another depending on their tastes. If only we could have Milnes, Freni, Gedda, Ghiaurov, Mesple and Chailly (a dream cast, eh?)

    photo_2021-09-16_22-26-06.jpg
    Last edited by Azol; Sep-16-2021 at 20:28.

  22. #30
    Senior Member Azol's Avatar
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    Forgot one last thing to add: Act 4 finale with its famous crescendo (quite unlike any other crescendo Rossini has composed before). For some reason the most satisfying (up to this moment) orchestra performance under Chailly totally fails to deliver the last emotional impact of the fabulous score and I cannot quite pinpoint why. Gardelli totally rules these last 4 minutes and when "Liberté!" bursts forth it's pure bliss.
    Last edited by Azol; Sep-18-2021 at 15:59.

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