WNO launched its new season in Cardiff on Friday with a new production by David Poutney of Rossini’s William Tell. It also welcomed Carlo Rizzi back to the pit and he galvanised his forces to bring us a fast-paced and frequently exhilarating musical experience.

Among a strong cast unfortunately Gisela Stille had been advised not to sing so walked through the part which was impressively sung from the side stage by Camilla Roberts.

Casting was from strength with Barry Banks heroic and secure in the high tessitura for Arnold and David Kempster a solid and dependable Tell. Fflur Wyn delighted as Jemmy, bringing sensitivity to her characterisation and flair to the vocal line. All smaller parts were strongly sung and the chorus was as virile as usual.

At which point readers may sense a rather over-large but and they would be right. David Poutney has brought us many fantastic productions over the years but things do not look good at present. His staging of the Debussy-Getty double bill last summer was unconvincing and the new William Tell is frequently dull, lacking any sense of dramatic impact. The set by Raimund Bauer does not help. A work that breathes the open air of Switzerland and the close relationship of the people to the landscape is here dominated by a tripartite grey translucent panel with what appear to be icebergs on it. Only in act three when these units are turned round to reveal the platforms and ladders does it make some sense for the interior of Gesler’s castle. At all other times it works against any action. Costumes are equally dull, being grey throughout. Barry Banks heroic Arnold is dressed like an escapee from an amateur performance of Patience. This would matter less if the action within it had real vitality but it resorts too often to cliché. Chorus positioning is static or so stylised as to be ineffective. There is no sense of place or action. It would be difficult without reading the programme note to work out what actually happens in the last act; and why is Gesler in a wheelchair? It worked for Russalka but here it is misplaced and almost laughable.

William Tell deserves better and these singers should have been given the support the quality of their singing deserved. Next month the same forces will be staging Rossini’s Moses in Egypt – let us hope for better.