The autumn visit to Oxford of Welsh National Opera offered a thrilling illustration of the genius of Gioachino Rossini, with new productions of two of his works from the company’s artistic director David Pountney. The magnificent William Tell, of 1829, which was given in the original French on Saturday, was actually the last opera of the composer’s prolific early writing life, after which followed nearly 40 years of musical silence (on the public stage at least) as he busied himself among his pots and pans. Moses in Egypt (1818), heard in Italian on Friday, supplied a contrast in style in its reverent retelling of a Bible story, on to which is grafted romantic interest in the shape of a couple from opposing camps, as indeed are the lovers in William Tell.

Both productions make use of the same basic set from designer Raimund Bauer — two stage-filling flat screens which turn to reveal platforms and ladders behind — and both come colour-coded. In Moses, the Hebrews occupy the blue camp, as denoted by the colour of ‘their’ screen and clothes; the imprisoning Egyptians are red. In William Tell, where the screens bear Alpine views, we find the subjugated Swiss in monochrome garb, with their Austrian ‘rulers’ in armoured uniforms that nod towards a fascist future. In the joyful liberation at the close, the canton steps out in gay caparison, flower-bedecked, reflecting new freedom.

Each production starts in an arresting way, Moses in complete darkness, as a consequence of God’s ninth plague. Conductor Simon Phillippo required an illuminated baton to guide the orchestra through the matchless music that builds towards Moses’ (Miklós Sebestyén) address to the Almighty (“Eterno! immenso! incomprensibil Dio!”) and the brilliant transformation to light that follows. In William Tell, the opening to the famous overture finds a lone cellist on stage, to be followed by the smashing of her instrument in the storm that erupts to express the tumult in the community — which can be considered a multi-faceted character of its own in this opera, with the renowned WNO chorus rising to the vocal challenges involved. Conductor Andrew Greenwood’s control of the orchestra was at once apparent and was maintained through the three-plus hours of ensuing action.

Baritone David Kempster supplied a compelling portrait of freedom-fighter Tell, notably in the confrontation with the Austrian governor Gesler (Clive Bayley), he of the malicious apple-shooting challenge. The love interest came over well with Gisela Stille as the Austrian noblewoman Mathilde and Barry Banks as her Swiss swain, Arnold. Ensemble work was admirable; so, too, the ballet.

Mr Banks had demonstrated his considerable vocal power the night before as Moses’ cautious brother Aaron. Bass Andrew Foster-Williams was an excellent Pharoah, despite looking younger than his son, Osiride (David Alegret), whose Hebrew ‘squeeze’ Elcia was prettily played by Claire Booth.