[5] As Hofer, or the Tell of the Tyrol, the opera was first performed at Drury Lane in London on 1 May 1830 (in English), with a production in Italian following in 1839 at Her Majesty's, and in French at Covent Garden in 1845.

[8] In the later 20th century there were major productions in Florence (1972), Geneva (1979, 1991), La Scala (1988), Théâtre des Champs-Élysées (1989), Covent Garden (1990), and then Opéra Bastille (2003)[3] as well as at the Sportspalace in Pesaro (lasting over 5 hours, 1995).

[10] A live recording of this concert performance was released in 2011, and the production was transferred to The Proms in July of that year, with Michele Pertusi taking on the title role, Patricia Bardon[11] as Hedwige, Nicolas Courjal as Gessler, and Mark Stone as Leuthold.

[15] Its high-energy finale, "March of the Swiss Soldiers", is particularly familiar through its use in the American radio and television shows of The Lone Ranger.

Several portions of the overture were used prominently in the films A Clockwork Orange and The Eagle Shooting Heroes; in addition, Dmitri Shostakovich quotes the main theme of the finale in the first movement of his 15th symphony.

The action opens on an idyllic scene, with the local peasants busily preparing chalets for three newly wedded couples, singing as they work (Quel jour serein le ciel présage – "What a serene day the sky foretells").

Tell stands apart from the general merriment, however: he is consumed with ennui at Switzerland's continued oppression (Il chante, et l'Helvétie pleure sa liberté – "He sings, and Helvetia mourns her liberty").

His father's rebuke provokes an outpouring of despair from Arnold: in his recitative we learn of his previous service in the forces of the Austrian rulers, his rescue of Mathilde from an avalanche, and the conflict between his love for her and his shame at serving the "perfidious power".

By the end of the exchange, Arnold is prepared to confront Gesler the moment he arrives; Tell persuades him to at least let the festival pass in peace, but knows he has gained a convert to the cause of freedom.

The blessing is followed by singing, dancing and an archery contest that Tell's young son Jemmy wins with his first shot – a result of his "paternal heritage".

It is Jemmy who notices the hurried approach of the pale, trembling and wounded shepherd, Leuthold, who killed one of Gesler's soldiers to defend his daughter and is fleeing the governor's forces.

On the heights of Rütli, overlooking the Lake and the Cantons A hunting party of ladies and gentlemen, accompanied by soldiers, hears the sound of the shepherds returning from the hills as night approaches.

She is, like Arnold, anguished by the love she feels for her rescuer, and contemplates it as she sings (Sombre forêt, désert triste et sauvage – "Somber forest, sad and savage wilderness").

In their duet (Oui, vous l'arrachez à mon âme – "Yes, you wring from my soul"), they recognise their mutual passion, but also the obstacles they face.

Urging him to "return to the fields of glory", Mathilde assures him of the eventual acceptability of his suit, and leaves at the approach of Tell and Walter.

It is the men of the canton of Unterwalden coming to join the fight, and describing their journey in a rather gentle refrain (Nous avons su braver).

In quick succession, they are joined by the men of Schwyz (En ces temps de malheurs) and Uri (Guillaume, tu le vois).

Hearing preparations for the coming festival in the palace grounds, they bid a fond farewell to each other (Sur la rive étrangère – "Though upon a foreign shore").

Inspired, he devises his test: Tell must shoot an arrow through an apple balanced on Jemmy's head – should he refuse, both of them will die.

Rodolphe expresses concern at attempting a journey on the lake in the storm, but Gesler intends to force Tell, an expert boatman, to pilot the vessel.

Scene 1: Old Melchthal's house Arnold, aware of Tell's arrest, is dispirited, but, set on revenge, draws strength from being in his father's former home and sings a moving lament (Ne m'abandonne point, espoir de la vengeance... Asile héréditaire... – "Do not abandon me, hope of vengeance... Home of my forefathers").

In some versions, Mathilde, Jemmy and Hedwige sing a moving trio (Je rends a votre amour un fils digne de vous – "I return to your love a son worthy of you").

The gathered Swiss fighters and women sing a paean to the magnificence of nature and the return of freedom in a lyrical C major aria (Tout change et grandit en ces lieux... Liberté, redescends des cieux – "Everything is changing and growing grander in this place... Liberty, descend again from heaven") as the ranz des vaches motif returns once again and finally.

During the Crimean War John MacLeod transcribed "La tua danza sì leggiera", a chorus part in the third act, to create the tune "The Green Hills of Tyrol", a well-known retreat march in the Scottish bagpipe tradition.

Characters portrayed on the Obers and Unters include: Hermann Gessler, Walter Fürst, Rudolf Harras and William Tell.