All through the composition we find the horn used freely, which is accounted for by some writers by the fact that Rossini was an excellent horn player. After Tell relates the story of oppression and wrong, we hear the horn echoing through the mountains announcing the fete which is to take place. Again the sound of hunting horns in the same act, tempt Arnold to join the chase, but as we know, Tell persuades him to think on serious things, though later as the horns continue their inviting cry he leaves, but with Tell in pursuit.
The libretto of this opera is weak, the story being poorly developed and the interest waning after the sec ond act. Its dramatic defects were recognized upon its first performance, but even the most critical were lavish in their praise of the music. Bix rewrote the second act, and even after he and Jouy had, upon suggestion of dra matic critics, revised the whole opera, Rossini found it necessary to change parts for the sake of greater unity. After some fifty performances it was cut down to three acts, and at one time in Paris but one act was performed.
It is replete with numbers which may be designated as remarkable. Among them are the pastoral quartet in the first act in which Tell, baritone, Hedwige, soprano, Jeminy, soprano, and the fisherman, tenor, join; the dainty ballet tunes in the same act accompanying the appear ance of the bridal couple; a long duet between Arnold and Tell which is considered one of Rossini's finest inspi rations; in the second act a double chorus of huntsmen and shepherds; Matilde's charming romanza " Selva opaco" ("Shadowy Woodlands") whose gentle loveli ness is a pleasing contrast to the remainder of this great act ; the taking of the oath at Rutli, "La Glorie infiammi" (" May glory, our hearts"); the chorus at the gathering of the cantons; the famous scene of the shooting of the apple, "Sois immobile " (" Stand motionless "), Arnold's aria " 0 muto asil " (" Oh bless'd abode ") and the final "Hymn of Freedom."