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Music Performance Reviews
Metropolitan Opera, NY
www.lincolncenter.org
BORIS GODUNOV
Music and Libretto: Modest Mussorgsky
Conductor: Semyon Bychkov
Production: August Everding
Sets: Ming Cho Lee
Director: David Kneuss
Cast
Boris Godunov: James Morris
Grigory: Sergej Larin
Marina: Irina Mishura
Price Shuisky: David Kuebler
Rangoni: Sergei Leiferkus
Simpleton: Charles Reid
Chandak Ghosh
01/27/2004 When Boris Godunov was first staged January 27, 1874 (exactly 130 years before the present MET performance), Mussorgsky introduced to the world a new style of opera—fiercely Russian in plot, themes, and musical approach. Basing his melodies on Russian liturgical and folk traditions, Mussorgsky rejected accepted conventions of harmony and orchestration. After its initially successful run, Boris Godunov sank into near-oblivion as many considered the score noisy, unrefined, and unsingable. Only after Rimsky-Korsakov reharmonied and reorchestrated the work in more Western classical tradition did the opera achieve its distinction as perhaps the most profound of the Russian canon.
When one composer decides to rework or finish the music of another, other composers often feel they can do a better job. Other than Mussorgsky's own two editions, Rimsky-Korsakov tried twice; Shostakovich and Rathaus each composed new versions; and numerous individual conductors and directors have changed the work to suit their tastes. Thankfully, the modern trend is to return to Mussorgsky's original orchestrations. The MET favors a combination of his two editions—keeping both the regal St. Basil and powerful Revolution scenes, previously in separate accounts.
Boris Godunov recounts the events in Russia during late 16th century. Boris becomes Tsar after having the previous heir, a young boy named Dimitri, murdered. Although he tries to rule Russia judiciously, he remains tormented by dreams of Dimitri still being alive. Occupied by his nightmares, Boris allows intrigue, thievery, and abuse to reign in the kingdom. The young novice Grigory hears the story of the murdered Dimitri, vows to overthrow Boris, and escapes to Lithuania and then Poland to raise troops. He meets and falls in the love with the vain, conniving Polish princess Marina. The last Act depicts the death of Boris and the revelation of the peasants as Grigory invades Moscow to free them. This epic opera ends quietly with the lament of the village Simpleton as he cries about Russia's uncertain future.
Russian Conductor Semyon Bychkov made his belated debut at the MET this season, and his results were mixed. Strangely, the orchestra sounded leaden as it plodded through most of Acts I and II. The normally glorious Coronation Scene and searing Mad Scene both fell flat. Even the MET chorus, usually considered among the world's best, sounded uncomfortable and uneven. By Act III, the playing had improved, no doubt because of the committed performances of Sergej Larin's Grigory, Sergei Leiferkus' Rangoni, and Irina Mishura's Marina. Dominating the Act was Mishura's full throated, husky mezzo characterization of greedy nobility, longing only for power and wealth.
In Act IV, the orchestra and chorus finally were able to reveal the majesty of Mussorgsky's music. James Morris' bass seems more weathered and dry as his career progresses, but the timbre remains appropriate for this role. After a lackluster Mad Scene, his Boris portrayal grew to show a monarch conflicted and immobilized by both his past sins and the conspiracies surrounding him. His death scene in which he repents to his young son stands among the most heart-breaking ever staged at the MET. The rest of the cast was solid, but special mention should be made of the small role of village Simpleton. Charles Reid's glowing tenor remains a highlight of this production.
Boris Godunov will be performed five more times this season. On Saturday, January 31, 2004, the opera will be broadcast live as part of the MET Saturday Radio Broadcast series (Stations vary by region). The 2003-2004 season continues with scheduled performances of Rigoletto, Tosca, Madama Butterfly, among many others. For further information and tickets, see www.METopera.org.
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