You thought Rossini’s William Tell was about the eponymous archer, his son and an apple? Well, you’re wrong. That’s the sub-plot. The main narrative concerns the radicalisation of a young man by the execution of his father in reprisal for the community protecting a fugitive; the man’s crime was protecting his daughter by killing her attacker, a soldier of the occupying power. So far, so contemporary. And in the Teatro Regio di Torino’s outstanding concert performance at the Edinburgh International Festival, one was free to make what connections one chose.

From the first notes of that mini-symphony of an overture to that last, full-throated declaration of ‘libertà’, the performance fairly rollicked along – helped, of course, by Rossini’s infectious rhythms. Maestro Gianandrea Noseda maintained the pace and tension throughout and kept the orchestra tight. Their playing may be pin-sharp but still swept lilting through the waltzes, and in balance with the soloists and chorus throughout. And what a chorus. Their sound was rich and full, the diction exemplary without being exaggerated, the volume tremendous – particularly in the arrow-shooting scene.

There was richness in the line-up of soloists as well. The big voice of Fabrizio Beggi (Melcthal) commanded the Usher Hall and could probably be heard across the road in Festival Square. Why did he have to be executed at the end of the first act? Another big voice was Leuthold the fugitive (Paolo Orecchio) – but at least he returns in Act IV.

Initially, Dalibor Jenis (Guglielmo) seemed a bit under-powered on his bottom notes, but he warmed up and sang with gravitas. He provided a good contrast to the emotional fluctuations of Arnoldo (John Osborn), as that young man changed from (effectively) collaborator to freedom-fighter. His Act IV aria 'O muto asil del pianto' was gorgeous.

The other sub-plot concerns Mathilde (Angela Meade), Austrian princess in love with, and loved by, Arnoldo. Seeking a way through the politics to be with the man she loves, she ends up challenging the Governor, Gessler (Luca Tuttoto) A concert performance constrains being the baddie, but Gessler is brutally bureaucratic rather than histrionic  - except for his vindictive enunciation. Marina Bucciarelli was sweet and brave as Jemmy, Tell’s son, her mother Edwige (Anna Maria Chiuri) dignified if distraught.

Most impressive was the quality of the ensembles. An Act II ‘trio’ for Arnoldo, Mathilde and the wind instruments delighted. Meade shimmered over ensemble, chorus and orchestra in the Act III quintet. Jenis, Osborn and Mirco Palazzi (Gualtiero) sang eloquently of liberty and death. The Act IV prayer of the three women and female chorus was controlled but fervent.

This performance gave no hint of the unsettling goings-on at the Teatro, unless their response was to raise their game in support of their maestro. And there seemed to be a very supportive atmosphere on stage, with little looks and gestures of acknowledgement passing between performers.