It is important to clarify to readers, of the various versions of this opera, true "masterpiece" Modest Musorgski. The first or primitive version, from 1869, It included seven scenes and was not accepted -curiously a feminist stance in those years!- for not having any female role. It took nearly sixty years, so this version was represented on stage: specifically in the Opera and Ballet of Leningrad 16 February 1928. In 1871, Mussorgsky concluded a version that includes the two scenes of the Polish act and certain changes: added the two songs at the scene of the border, Clock situation and other minor at the scene of the tsar room, replacement of San Basilio box by Kromi forest. This revised by its author version premiered in 1874. In 1896 It was released the first Rimsky-Korsakov review what, despite harmonies dulcificar, reorchestration by more than three-fourths of the Opera, He contributed decisively to the recovery of the work. This release was comprised of nine scenes version 1871.
To the detriment of his own works, Rimsky-Korsakov made a new version at the end of his life, adding even own music. It is the version of 1908 made for the greater glory of the legendary Russian bass Feodor Chaliapin, and enshrine this opera in the repertoire.
In 1926 Ippolitov-Ivavov He reviewed the scene of San Basilio, who often stays near the forest Kromi. Pavel Lamm, to late twenties, He made a critical version of the original, which it premiered at the Kirov Theater in Leningrad 1928, in ten scenes, with the original instrumentation of Mussurgki 1871, and incorporating the scene of St. Basil's Cathedral, of the version of 1869, which is representing the Teatro Real in Madrid. Finally, must review the review by Shostakovich, which it premiered at the Kirov, in 1959. Shostakovich respects the most of the music of Mussorgsky, making certain cuts and revising the orchestration.
Another criticism of the original edition is David Lloyd Jones from 1975 what, precisely, which it was staged at Covent Garden in London in the production of filmmaker Andrei Tarskovsky in 1983, and is that shown in this function taken in video, in 1990, in St. Petersburg, still under the communist regime, in Kirov Theater, in which curtain may be the hammer and sickle. David Lloyd Jones reviewed the original voice and orchestral score, going further than any of the previous versions, in investigating the sources of the original manuscript of the composer.
Much has been written about the Boris Godunov, true jewel of opera of all time. It is a work full current, and he has not aged a bit since its creation, over one hundred and forty years ago. His three great originalities are: "Dramatic structure, the protagonist character of the people and the empowerment of the word as musical language ". The orchestral writing is rough and concise, corresponding with very specific vocal performance characteristics. Of the three major low is in the works, because the character of Rangoni, You can also sing a baritone: Tsar Boris Godunov is the most important, both from the point of view as dramatic vowel; Y, writing and features require a bass singer or a dramatic baritone, you can move easily between serious and acute if fa.
The monk Pimen must have a deep bass own vocalism, To access Notes between the severe and acute MI.
Vaarlan requires a voice flexible low, forceful and vigorous.
False Dmitri, It must be interpreted by a lyrical voice and wide breath, also attentive to a nuanced and full wording of intentionality.
Prince Shuski requires a light lyric, with good ability to show their own opportunism and falsity of a politician who fits any circumstances.
Marina's character requires a mezzo voice and suggestive timbrada, to express changing moods.
Xenia tsar's daughter is a role for soprano and has a remarkable intervention at the end of Act II. Tsar Feodor's son usually assigned to a mezzo, intervening both in the same scene, and the death of Boris.
The nurse is also a role for contralto or mezzo grave, It has a remarkable performance in the same scene.
Magnificent in every aspect this dramatization in St. Petersburg, Mariinsky Theater in, with the production of the great Russian filmmaker Andrei Tarskosvsky, which as already it pointed, It premiered in London in 1983, although Tarskosvsky had died prematurely in 1986. As also it indicated it is critical version of David Lloyd Jones, published by Oxford University. The scenery is of great brilliance. But, maybe, most significant is the magnificent orchestral direction of the then young Valery Gergiev, who already showed great ways, that they have been aupando over the last twenty years the top in the orchestral direction, oporística both as symphonic. Gergiev address, the head of the Kirov Theater Orchestra, very it contrasted and intense, showing all the nuances of this monumental musical score.
Years later, in 1997, Gergiev conducted for the Philips label filed an extraordinary recording 5 CD, with both versions made Mussurgski, with the participation of the fascinating mezzo-for vocalism and great beauty- Olga Borodina, who becomes the ideal Marina entire discography and videography, and it is also involved in the filming in St. Petersburg, and the director of the video takes Humphrey Burton, It revels in first and close-ups, showing the beauty of this mezzo. Its role is all in Act III, “Polish subtitles act”, definitely, the most accomplished of this production.
Marina's monologue, where he shows his boredom and ennui, that reminds us, somehow, the initial intervention by Katerina Izmailova, en la Lady Macbeth de Shostakovich: It is superbly resolved by Borodina, who delights us with a voice of great beauty timbre, yet it is emanating erotic and high doses of sensuality, and this is reflected in the long and intense duet with the false Dmitri, one of the most beautiful in the entire history of opera.
Borodina and tenor Alexei Steblianko pasted well, he shows a resounding voice, sings very well, but it lacks musicality and modulation capability, for example, the young man Nicolaï Gedda, in his extraordinary creation of the false Dmitri, in the Parisian recording (the first we held in the Boris) directed by Issay Dobrowen, in 1952, there, junto a Gedda, I could hear the great Russian mezzo Eugenia Zareska, both they sing a duet of dream, that only he could have -jugando to music fiction- being overtaken by Gedda singing with Olga Borodina.
Polish excel in this act, execution by the dance ensemble of the Kirov, of polonaises, and the great performance of the baritone Sergei Leiferkus, in the role of the sinister cleric Rangoni. Boris is under British Robert Lloyd, who has stage presence for this character and good theatrical performance, sometimes the voice is muffled and throaty, and it can not be compared with other great Boris in the past as Ezio Pinza, Boris Christoff O Nicolai Ghiaurov. Anyway, the performance of Robert Lloyd, It is of great packaging at the scene of the coronation, moving in the final scene of Act II; Y, truly awe at the scene of his death.
Good interventions Alexander Morosov as Pimen and Yevgeny Boitsov in the role of the false and twisted Shuisky. Highlight the magnificent performance as the mezzo Feodor Larissa Diatkova (intended for a later career major), with important interventions at the end of Act II, Boris and Shusky. As well, from Yevgenia Perlassova as the nurse, who with Diatkova, sings in the final scene of this act, an attractive Russian song. Outstanding performance so important in this opera chorus.
BORIS GODUNOV de MODEST MUSSORGSKY (full version of 1872)
2 DVD DECCA 075 089-9
Robert Lloyd, Olga Borodina, Alexei Steblianko, Sergei Leiferkus, Larissa Dytkova, Olga Kondina, Yevgenia Perlassova, Alexander Morosov
Production for The Royal Opera House, Covent Garden de: Andrei Tarkovsky
stage direction: Stephen Lawless
TV address: Humphrey Burton
Orchestra and Chorus of the Kirov opera in St. Petersburg
Director: Valery Gergiev
English subtitles, German, French, Español, Italian and Chinese
Good image and excellent sound