Boris Godunov has always been one of my favourite operas. It is a structurally tight opera with some of Mussorgsky's most beautiful music and a titular character that is incredibly compelling. Also as much as I do love Eugene Onegin and Khovanschina(the latter also by Mussorgsky), Boris Godunov gets my vote as the greatest of all Russian operas. This Met production is beautifully sung and very powerful. For one thing, I love how cinematic the camera work and lighting are. Note the transition from Boris's Death scene to the final scene in the Kromi forest, seamlessly done. It is very interesting visually, with one scene where Feodor wears a map around him maybe to represent his inheritance, a large manuscript for Pimen to record his history. Coming back to the death scene-Kromi forest transition, I noticed that a lot of scenes in this production uses the technique of finishing quietly and flowing into the next, almost as if the stage director was mirroring the connective sound structure of Mussorgsky's music.
Musically, the orchestra are evocative and full in sound. You couldn't have had a more perfect conductor for the score than Valery Gergiev, whose musical direction was what made the 1990 Boris Godunov with Robert Lloyd as Boris such a treasure. Gergiev gives a restrained albeit still electrifying reading, the complete opposite of flamboyant as he can be thought of. The chorus are emotive, nuanced with a dark timbre sometimes. The production succeeds in showing the violence permeating Russia and its tyrannical rule. It also has a human touch like the opera, Boris is not the only cruel character, there are also monks, children and freedom fighters that steal and kill their opponents. Besides to his children, Boris is very warm and cares for his children.
As for the staging, I have talked about the cinematic lighting and camera work and the best scene change, but not yet about any effective scenes. There were a fair few, Boris' Coronation, big monologue and Death scenes are very well done on all counts, but two stand out. The opening of the last act and the Tarem Palace episode. The opening of the last act is often omitted, and I am so glad it was included, the chorus is wonderful and there is yet another human dimension to Boris as he asks the fool to pray for him instead of retaliating. The Tarem Palace scene is where you would hear the justifiably famous clock scene. This is unique for the fact that it doesn't use Rimsky Korsakov's orchestration, which is perhaps more characterful of a clock chiming and ticking but the bleaker and more sparse 1969 Mussorgsky version.
The singing is absolutely great. The only problematic spot was the Dimtri of the production Aleksandr Antonenko. The voice in the high register shows strain at the top and I didn't think he was romantic enough with Marina. Marina is played and sung by Ekaterina Semenchuk, the voice is resonant and sensual. She may just lack the chesty heft of a Borodina, Dunn or Arkhipova, but she does cope very well, but does even better in the upper range which is every bit as glamorous as how she looks on stage. Evgeny Nikitin is excellent as Rangoni, Andrey Popov appeals as the Fool and Mikhail Petrenko is a noble Pimen.
Rene Pape is just superb though. He has one of the more beautiful and warmer voices of any bass recently, and his Boris is towering and heart-wrenching, giving a psychological depth that I haven't seen done so exceptionally well since Nesterenko. Before I forgot, I liked the costumes, the aristocracy were clothed in rich-looking costumes and the masses were dressed in grungy colours, emphasising very well the difference between classes. The sets are simple but hardly non-existent either. All in all, beautifully sung and compelling. 9/10 Bethany Cox
Musically, the orchestra are evocative and full in sound. You couldn't have had a more perfect conductor for the score than Valery Gergiev, whose musical direction was what made the 1990 Boris Godunov with Robert Lloyd as Boris such a treasure. Gergiev gives a restrained albeit still electrifying reading, the complete opposite of flamboyant as he can be thought of. The chorus are emotive, nuanced with a dark timbre sometimes. The production succeeds in showing the violence permeating Russia and its tyrannical rule. It also has a human touch like the opera, Boris is not the only cruel character, there are also monks, children and freedom fighters that steal and kill their opponents. Besides to his children, Boris is very warm and cares for his children.
As for the staging, I have talked about the cinematic lighting and camera work and the best scene change, but not yet about any effective scenes. There were a fair few, Boris' Coronation, big monologue and Death scenes are very well done on all counts, but two stand out. The opening of the last act and the Tarem Palace episode. The opening of the last act is often omitted, and I am so glad it was included, the chorus is wonderful and there is yet another human dimension to Boris as he asks the fool to pray for him instead of retaliating. The Tarem Palace scene is where you would hear the justifiably famous clock scene. This is unique for the fact that it doesn't use Rimsky Korsakov's orchestration, which is perhaps more characterful of a clock chiming and ticking but the bleaker and more sparse 1969 Mussorgsky version.
The singing is absolutely great. The only problematic spot was the Dimtri of the production Aleksandr Antonenko. The voice in the high register shows strain at the top and I didn't think he was romantic enough with Marina. Marina is played and sung by Ekaterina Semenchuk, the voice is resonant and sensual. She may just lack the chesty heft of a Borodina, Dunn or Arkhipova, but she does cope very well, but does even better in the upper range which is every bit as glamorous as how she looks on stage. Evgeny Nikitin is excellent as Rangoni, Andrey Popov appeals as the Fool and Mikhail Petrenko is a noble Pimen.
Rene Pape is just superb though. He has one of the more beautiful and warmer voices of any bass recently, and his Boris is towering and heart-wrenching, giving a psychological depth that I haven't seen done so exceptionally well since Nesterenko. Before I forgot, I liked the costumes, the aristocracy were clothed in rich-looking costumes and the masses were dressed in grungy colours, emphasising very well the difference between classes. The sets are simple but hardly non-existent either. All in all, beautifully sung and compelling. 9/10 Bethany Cox
