When Rossini arrived in Paris he was almost immediately appointed director of the Italian Opera by the Duc de Lauriston.  With this and the Academie he remained connected till the revolution of 1830.  “Le Siege de Corinthe,” adapted from his old work, “Maometto II.,” was the first opera presented to the Parisian public, and, though admired, did not become a favorite.  The French amour propre was a little stung when it was made known that Rossini had simply modified and reshaped one of his early and immature productions as his first attempt at composition in French opera.  His other works for the French stage were “Il Viaggio a Rheims,” “Le Comte Ory,” and “Guillaume Tell.”

The last-named opera, which will ever be Rossini’s crown of glory as a composer, was written with his usual rapidity while visiting the chateau of M. Aguado, a country-seat some distance from Paris.  This work, one of the half-dozen greatest ever written, was first produced at the Academie Royale on August 3, 1829.  In its early form of libretto it had a run of fifty-six representations, and was then withdrawn from the stage; and the work of remodeling from five to three acts, and other improvements in the dramatic framework, was thoroughly carried out.  In its new form the opera blazed into an unprecedented popularity, for of the greatness of the music there had never been but one judgment.  Fetis, the eminent critic, writing of it immediately on its production, said, “The work displays a new man in an old one, and proves that it is in vain to measure the action of genius,” and follows with, “This production opens a new career to Rossini,” a prophecy unfortunately not to be realized, for Rossini was soon to retire from the field in which he had made such a remarkable career, while yet in the very prime of his powers.

“Guillaume Tell” is full of melody, alike in the solos and the massive choral and ballet music.  It runs in rich streams through every part of the composition.  The overture is better known to the general public than the opera itself, and is one of the great works of musical art.  The opening andante in triple time for the five violoncelli and double basses at once carries the hearer to the regions of the upper Alps, where amid the eternal snows Nature sleeps in a peaceful dream.  We perceive the coming of the sunlight, and the hazy atmosphere clearing away before the newborn day.  In the next movement the solitude is all dispelled.  The raindrops fall thick and heavy, and a thunderstorm bursts.  But the fury is soon spent, and the clouds clear away.  The shepherds are astir, and from the mountain-sides come the peculiar notes of the “Ranz des Vaches” from their pipes.  Suddenly all is changed again.

Trumpets call to arms, and with the mustering battalions the music marks the quickstep, as the shepherd patriots march to meet the Austrian chivalry.  A brilliant use of the violins and reeds depicts the exultation of the victors on their return, and closes one of the grandest sound-paintings in music.