Tancredi, Rossini’s exciting first dramatic opera, opened Friday to a full house at the Hummingbird Centre in Toronto. The Canadian Opera Company’s first ever presentation of Rossini’s work and possibly its Canadian premiere, was enthusiastically received. Rossini was once Europe’s most admired composer and Tancredi, an overwhelmingly romantic opera, poised on the cusp between classicism and romanticism in music, was first performed at the Teatro La Fenice, in Venice, 1813.

Based on Voltaire’s play Tancrede, it is the complicated story of a 11th century knight of royal blood, Tancredi, who secretly returns to his homeland and discovers that his king is now allied with his archenemy, Orbazzano, and his lover, Amenaide, has unwittingly betrayed him.

The opera requires astonishing bel canto acrobatics and Rossini, due to the church’s objection to women singers on the operatic stage in the 17’x’ and 18’ century, used castrati singers.

Celebrated contralto Ewa Podles in her in her signature role as Tancredi, received a well deserved ovation. Her range more than does justice to the role. She previously sung the title role of Handels’ Julius Caesar at the COC.

Tenor Michael Colvin’s Argirio combined just the right voice with dramatic presentation as the anguished Argirio Contralto Marie-Nicole Lemieux as Isaura and soprano Laura Whalen as Tancredi’s friend, Roggiero were also in fine voice.

In a dramatic plot twist Tancredi had to open with a brand-new design as the set and props rented from Teatro di San Carlo in Naples were delayed during their shipment across the Atlantic Ocean. The new settings by set designer Italian artist Mimmo Paladini and two young Canadians, lighting designer Bonnie Beecher and set designer Yannik Larivee worked very well, especially in the duelling scenes which were fought offstage against a dark sky and the light of day dawned as Tancredi lay dying during the marriage vow, promising a new day. The other remarkable scene was Tancredi’s arrival with a sort of tall sailing ship reminiscent of oversized bed sheets being towed across the stage. Did COC get a refund for the tardy sets and props?

The original costumes, in dark earth tones by Italian costume designer Nana Cecchi, flown in by air, arrived in time. The whole ensemble worked very well under Serge Bennathan’s direction and a very efficient chorus directed by Sandra Horst.

It was especially satisfying to see how often the movement or stillness of the Chorus, on one occasion a mass of figures hovering motionless in the shadows, was such a stimulating reminder of continuity with the ancient Greek theatre.

Will Crutchfield, a conductor with marvellous credentials, conducted this neglected opera with immense sensitivity.