Boris Godunov (opera)

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Modest Mussorgsky in 1870

Boris Godunov (Russian: Борис Годунов, original orthography Борисъ Годуновъ, Borís Godunóv) is an opera by Modest Mussorgsky. The work was composed between 1868 and 1872, in St. Petersburg, Russia. It is Mussorgsky's only completed opera and is considered his masterpiece. Its subject is the Russian ruler Boris Godunov, who reigned as Tsar from 1598 to 1605. The libretto was written by the composer, and was based on the drama of the same name by Aleksandr Pushkin, and on Nikolay Karamzin's History of the Russian State. The composer created two distinct versions. The Original Version of 1869 was not approved for production. Mussorgsky completed a Revised Version in 1872, and this version eventually received its first performance in 1874. The music is written in a uniquely Russian style, drawing on the composer's knowledge of Russian folk music, and rejecting the influence of German and Italian opera.

Composition history

Ivan Melnikov, the first Tsar Boris (1874)

Note: Dates provided in this article for events taking place in Russia before 1918 are Old Style.

In the autumn of 1868, Vladimir Nikolsky, a professor of Russian literature and an authority on Pushkin (1799–1837), suggested to Mussorgsky the idea of composing an opera on the subject of Pushkin’s drama Boris Godunov, which had finally been approved for performance in 1866.

Original Version of 1869

Mussorgsky began work in October 1868 preparing his own libretto. Pushkin’s drama consists of 24 scenes, written predominantly in blank verse. Mussorgsky adapted the most theatrically effective scenes, often preserving Pushkin’s verses, and augmented these with his own lyrics. He was assisted by a study of History of the Russian State by Karamzin, to whom Pushkin’s drama is dedicated. Mussorgsky worked rapidly, composing the vocal score and then the full score in about 14 months, at the same time holding down a civil service job. The Original Version was completed by December 15 1869. The score was submitted to a committee of the Imperial Theaters in 1870, but was rejected for performance, ostensibly for its lack of conventional prima donna and first tenor roles, but also, it is believed, for its novelty.

Revised Version of 1872

Mussorgsky began recasting and expanding Boris in 1871. Three scenes were added (the two Sandomir scenes and the Kromï Scene), one cut (the Vasiliy the Blessed Scene), and another recomposed (the Terem Scene). The modifications resulted in the addition of an important female role (Marina Mniszech), the expansion of existing female roles (additional songs for the Hostess, Fyodor, and the Nurse), and the expansion of the role of the Pretender. The Revised Version was finished June 23 1872, and submitted to the Imperial Theaters in the autumn.

Initial performances

Mussorgsky's friends took matters into their own hands by arranging the performance of three scenes at the Mariinsky Theater on February 5 1873. The response of the public and critics was enthusiastic:

"The success was enormous and complete; never, within my memory, had such ovations been given to a composer at the Mariinsky." (César Cui, Sankt-Peterburgskie Vedomosti, 1873)

This triumph paved the way for the first complete performance of the opera, which took place on January 27 1874. The hall was sold out, and the performance was a great success with the public. Students sang choruses from the opera in the street. This time, however, the critical reaction was exceedingly hostile [see Critical Reception in this article for details].

Cuts

Initial performances of Boris Godunov featured significant cuts. The entire Cell Scene was cut from the first performance, and there were substantial cuts to the 3rd and 4th Acts. The extent of Mussorgsky's cooperation in making the cuts is not known with accuracy. After protracted difficulties in obtaining the production of his opera, he was compliant with the demands of the conductor Nápravník in ruthlessly excising large sections and even entire scenes from the work, and went so far as to defend these mutilations to his own supporters. Later performances tended to be even more heavily cut, including the removal of the entire Novodevichiy, Cell, and Kromi scenes. Members of the royal court were reportedly displeased with the opera, particularly the Kromï Scene (often called the 'Revolution Scene'), and it is not surprising that the most often deleted scenes happened to be those that depicted the unrest of the people.

Early performance history

File:Napravnik.jpg
Eduard Nápravník, a 'master of cuts', conducted the premiere of Boris Godunov (1874)

Note: Dates provided in this article for events taking place in Russia before 1918 are Old Style.

Performances of Excerpts

Cathedral Square Scene (Coronation Scene)

Polonaise from Act III

Three Scenes: Inn Scene, Scene in Marina's Boudoir, Scene in the Garden of Mniszech's Castle

  • Date: 5 February 1873
  • Place: Mariinsky Theater, St. Petersburg, Russia
  • Conductor: Eduard Nápravník

First Performance of the Complete* Opera

  • Date: 27 January 1874
  • Place: Mariinsky Theater, St. Petersburg, Russia
  • Producer: Gennady Kondratyev
  • Scene Designers: Matvey Shishkov, Mikhail Bocharov
  • Conductor: Eduard Nápravník

Original interpreters

Role 5 February 1873 27 January 1874 Voice
Boris Ivan Melnikov baritone
Fyodor A. Krutikova mezzo-soprano
Kseniya V. Raab soprano
The Nurse Schröder mezzo-soprano or contralto
Shuysky P. Vasiliyev tenor
Shchelkalov Sobolev baritone
Pimen V. Vasiliyev bass
Grigoriy Fyodor Komissarzhevsky Fyodor Komissarzhevsky tenor
Marina Yuliya Platonova Yuliya Platonova mezzo-soprano
Rangoni Gennady Kondratyev Palechek bass
Varlaam Osip Petrov Osip Petrov bass
Misail P. Dyuzhikov tenor
The Hostess Dariya Leonova Abarinova mezzo-soprano
The Yurodivïy Bulakhov tenor
Nikitich Sariotti bass
Mityukha Lyadov bass
Boyar-in-attendance Sobolev tenor
Khrushchov Matveyev tenor
Lavitsky Vasiliyev bass
Chernikovsky Sobolev bass

Subsequent Performances

The work was performed 21 times during the composer's lifetime, and 5 times after his death (in 1881) before being withdrawn from the repertory on November 8, 1882.

Important premieres

Date City Opera House Conductor Boris Version
27 Jan 1874 St. Petersburg Mariinsky Theater Eduard Nápravník Ivan Melnikov Revised Version 1872
16 Dec 1888 Moscow Bolshoy Theater Bogomir Korsov Revised Version 1872
4 Dec 1896 St. Petersburg St. Petersburg Conservatory Nikolay Rimsky-Korsakov M.V. Lunacharsky Rimsky-Korsakov 1896
7 Dec 1898 Moscow Solodovnikov Theater Fyodor Shalyapin Rimsky-Korsakov 1896
19 May 1908 Paris Paris Opera Felix Blumenfeld Fyodor Shalyapin Rimsky-Korsakov 1908
19 Mar 1913 New York Metropolitan Opera Arturo Toscanini Adamo Didur Rimsky-Korsakov 1908
24 Jun 1913 London Drury Lane Pierre Monteux Fyodor Shalyapin Rimsky-Korsakov 1908
16 Feb 1928 Leningrad Vladimir Dranishnikov Mark Reyzen Original Version 1869
4 Nov 1959 Leningrad Kirov Theater Sergey Yeltsin Boris Shtokolov Shostakovich 1940

Critical reception

File:Komissarshevskiy.jpg
Fyodor Komissarzhevsky, the first Pretender (1873)

As the most daring and innovative member of the group of composers known as the Mighty Handful, Mussorgsky frequently became the target of conservative critics and rival composers, and was often derided for his supposedly clumsy and crude musical idiom. Reviews of the premiere performance of Boris Godunov were for the most part hostile. Some critics dismissed the work as "noisy", "chaotic", and "a cacophony".

Even his friends Balakirev and Cui, leading members of the Kuchka, either failed to understand the giant step forward in musical and dramatic expression that Boris Godunov represented, or, unable to overlook Mussorgsky's inability to conform to the musical grammar of the day, minimized his accomplishment. Cui betrayed Mussorgsky in a notoriously scathing review of the premiere performance:

"Mr. Mussorgsky is endowed with great and original talent, but Boris is an immature work, superb in parts, feeble in others. Its main defects are in the disjointed recitatives and the disarray of the musical ideas.... These defects are not due to a lack of creative power.... The real trouble is his immaturity, his incapacity for severe self-criticism, his self-satisfaction, and his hasty methods of composition..." (César Cui, Sankt-Peterburgskie vedomosti, 1874)

Although he found much to admire, he criticized the composer for a poorly constructed libretto, and found the opera to exhibit a lack of cohesion between scenes, making it more a musical Shakespearean chronicle than an opera. He also claimed Mussorgsky was so deficient in the ability to write instrumental music that he dispensed with composing a prelude.

Of the critics who evaluated the new opera, only one recognized Mussorgsky's particular genius and skill:

"Dramatization in music could go no farther. Mussorgsky has proved himself to be a philosopher-musician, capable of expressing with rare truth the mind and soul of his characters. He also has a thorough understanding of musical resources. He is a master of the orchestra; his working-out is fluent, his vocal and chorus parts are beautifully written." ('Foma Pizzicato', pen-name of the critic Baskin, Peterburgsky Listok, 1874)

Although Boris Godunov is usually praised for its originality, for the dramatic power of its choruses, for its sharply delineated characters, and for the powerful psychological portrayal of Tsar Boris, it has received an inordinate amount of criticism for technical shortcomings: weak or faulty harmony, counterpoint, part-writing, and orchestration. The perception that Boris needed correction due to Mussorgsky's poverty of technique prompted his friend Rimsky-Korsakov to revise it after his death. His edition supplanted the composer's Revised Version of 1872 in Russia, and launched the work in the world's opera houses, remaining the preferred edition for some 75 years [see Versions by Other Hands in this article for more details].

Recently, however, a new appreciation for the rugged individuality of the composer's style has resulted in increasing performances and recording of his original versions. In the minds of many, Boris Godunov is the greatest of all Russian operas because of its originality, power, and theatricality, regardless of any cosmetic deficiencies it may possess.

The drama

  • Narrative and dramatic impetus
  • Psychological depth of the main characters
  • Socio-political subtext

The music

  • Skillful musical characterization
  • Thematic development
  • Key themes borrowed from Salammbô
  • Use of leitmotive
  • Use of modes
  • Speech melody

Versions

File:Platonova.jpg
Yuliya Platonova, the first Marina Mniszech (1873)

Authentic Editions

  • The Original Version of 1869 is rarely heard. Its main attractions are that it provides an interesting alternative in the Terem Scene to that of the 1872 version, it contains the dramatic Scene at the Cathedral of Vasiliy the Blessed ('St. Basil's Scene'), and it is not disfigured by any of the cuts the composer made in later versions of the work. The terse Terem Scene of the 1869 version and the momentum and unrelieved tension of the two subsequent and final scenes make this version more dramatically effective to some critics.
  • The Revised Version of 1872 is longer, is richer in musical and theatrical variety, and presents the title character in a somewhat more sympathetic and tragic light in the central Terem Scene. However, some critics maintain that the addition of songs to the Terem Scene and the insertion of the Sandomir scenes immediately following it actually weaken rather than enhance the drama. This version has made a strong comeback in recent years, and is becoming the dominant version.
  • The Vocal Score of 1874 was published at the time of the premiere of the opera, and is essentially the 1872 version with some minor musical variants and small cuts.

Editions by other hands

Comparison of the authentic versions

The distribution of scenes in the authentic versions is as follows:

Scene Original Version of 1869 Revised Version of 1872
The Courtyard of the Novodevichiy Monastery Part 1, Scene 1 Prologue, Scene 1
Cathedral Square in the Moscow Kremlin Part 1, Scene 2 Prologue, Scene 2
A Cell in the Chudov Monastery Part 2, Scene 1 Act 1, Scene 1
An Inn on the Lithuanian Border Part 2, Scene 2 Act 1, Scene 2
The Tsar's Terem in the Moscow Kremlin Part 3 Act 2
Marina's Boudoir in Sandomir Act 3, Scene 1
The Garden of Mniszech's Castle in Sandomir Act 3, Scene 2
At the Cathedral of Vasiliy the Blessed Part 4, Scene 1
The Palace of Facets in the Moscow Kremlin Part 4, Scene 2 Act 4, Scene 1
A Forest Glade near Kromï Act 4, Scene 2

Compared to the 1869 version, the 1872 version has lost one scene (Vasily the Blessed) and gained three (the two Sandomir scenes and the Kromï Scene). The composer initially replaced the Vasily the Blessed Scene with the Kromï Scene. However, on the suggestion of Nikolsky, he transposed the order of the last two scenes, concluding the opera with the Kromï Scene rather than the Palace of Facets Scene. This gives the overall structure of the opera the following symmetrical form:

People - Boris - Grigoriy - Boris - Grigoriy - Boris - People

Later, Rimsky-Korsakov transposed the last two scenes back again in his revision. Critics often mention that in doing so he shifted the focus of the opera from a tragedy of the Russian people to the tragedy of an individual.

Mussorgsky also rewrote the Terem Scene for the 1872 version, modifying the text, adding new songs and plot devices (the parrot and the clock), modifying the psychological treatment of the title character, and virtually recomposing the music of the entire scene.

Other important modifications in the 1872 version are:

  • Prologue, Scene 1 (Novodevichiy Scene) – The conclusion is cut (in the Synopsis below, the bracketed portion).
  • Act 1, Scene 1 (Cell Scene) – Pimen's narrative of the scene of Dmitriy's murder is cut. In addition, the composer added some offstage choruses of monks.
  • Act 1, Scene 2 (Inn Scene) – The 'Song of the Drake' is added (just after the introduction).
  • Act 4, Scene 1 (Palace of Facets Scene) – 'Shchelkalov's Address' is cut (just after the introduction).

Performance practice

A conflation (composite) of the 1869 and 1872 versions is often made when staging or recording Boris Godunov. This typically involves choosing the 1872 version and augmenting it with the Vasiliy the Blessed Scene (St. Basil's Scene) from the 1869 version. This strategy is popular because the Vasiliy the Blessed Scene is generally acknowledged to be too fine to omit. However, since the composer transferred the scene of the Yurodivïy and the urchins from the Vasiliy the Blessed Scene to the Kromï Scene when revising the opera, restoring the Vasiliy the Blessed Scene to its former location creates a problem of duplicate scenes, which can be partially solved by cuts. Most performances cut the robbery of the Yurodivïy in the Kromï Scene, but duplicate his lament that ends each scene.

Other examples of conflation:

  • The Rimsky-Korsakov Version is often augmented with the Ippolitov-Ivanov reorchestration of the Vasiliy the Blessed Scene (first performed in 1927).
  • Conductors sometimes elect to restore the cuts the composer himself made (or sanctioned) in writing the 1872 version [see Comparison of the Authentic Versions in this article for more details].

Instrumentation

Mussorgsky Orchestration

Rimsky-Korsakov Orchestration:

  • Strings: Violins, Violas, Cellos, Double Basses
  • Woodwinds: 2 Flutes, 1 Flute/Piccolo, 1 Oboe, 1 Oboe/English Horn, 2 Clarinets, 1 Clarinet/Bass Clarinet, 2 Bassoons
  • Brass: 4 Horns, 3 Trumpets, 3 Trombones, 1 Tuba
  • Percussion: Timpani, Bass Drum, Snare Drum, Tambourine, Cymbals, Bells
  • Other: Piano, Harp
  • On/Offstage: 1 Trumpet, Bells, Tam-tam

Shostakovich Orchestration:

  • Strings: Violins, Violas, Cellos, Double Basses
  • Woodwinds: 2 Flutes, 1 Flute/Piccolo, 2 Oboes, 1 English Horn, 2 Clarinets, 1 Clarinet/E♭ Clarinet, 1 Bass Clarinet, 2 Bassoons, 1 Bassoon/Contrabassoon
  • Brass: 4 Horns, 3 Trumpets, 3 Trombones, 1 Tuba
  • Percussion: Timpani, Bass Drum, Snare Drum, Cymbals, Tam-tam, Triangle, Bells, Glockenspiel, Xylophone
  • Other: Piano, Harp, Celesta
  • On/Offstage: 4 Trumpets, 2 Cornets, 2 Horns, 2 Baritone Horns, 2 Euphoniums, 2 Tubas, Balalaika and Domra ad libitum

Roles

Russian English Description Voice
Борис Годунов Boris Godunov Tsar of Russia Bass or Baritone
Фёдор Fyodor The son of Boris Mezzo-Soprano
Ксения Kseniya The daughter of Boris Soprano
Мамка Ксении The Nurse Kseniya's nurse Mezzo-Soprano or Contralto
Князь Василий Шуйский Prince Vasiliy Shuysky A boyar Tenor
Андрей Щелкалов Andrey Shchelkalov The Secretary of the Duma Baritone
Пимен Pimen A monk, chronicler Bass
Самозванец под именем Григория Grigoriy Otrepyev The Pretender Tenor
Марина Мнишек Marina Mniszech The daughter of the Sandomir Voyevoda Mezzo-Soprano
Рангони Rangoni A Jesuit Bass
Варлаам Varlaam A mendicant, vagrant Bass
Мисаил Misail A mendicant, vagrant Tenor
Хозяйка корчмы (Шинкарка) The Hostess An innkeeper Mezzo-Soprano
Юродивый The Yurodivïy A holy fool Tenor
Никитич Nikitich A police officer Bass
Митюха Mityukha A peasant Bass
Ближний боярин Boyar-in-Attendance A palace boyar Tenor
Хрущов Khrushchov A boyar Tenor
Лавицкий Lavitsky A Jesuit Bass
Черниковский Chernikovsky A Jesuit Bass
Peasants, policemen, pilgrims and cripples, people of Moscow, boyars, streltsï, bodyguards, monks, Sandomir maidens, Polish nobles, urchins, vagabonds, soldiers Chorus, Silent Roles

Historical basis of the plot

Gennady Kondratyev and Osip Petrov, who created the roles of Misail and Varlaam (1873)

An understanding of the drama of Boris Godunov may be facilitated by a basic knowledge of the historical events surrounding the Time of Troubles, the interregnum period of relative anarchy following the end of the Ryurik Dynasty (1598) and preceding the Romanov Dynasty (1613). Key events are as follows:

  • 1584 – Ivan IV "The Terrible", the first Grand Prince of Muscovy to officially adopt the title Tsar (Caesar), dies. Ivan’s successor is his feeble son Fyodor, now Fyodor I, who cares only for spiritual matters and leaves the affairs of state to his capable brother-in-law, boyar Boris Godunov, now de facto regent.
  • 1591 – Ivan’s other son Dmitry dies under mysterious circumstances in Uglich. An investigation, ordered by Godunov and carried out by Prince Vasily Shuysky, determines that the Tsarevich, while playing with a knife, had an epileptic seizure, fell, and died from a self-inflicted wound to the throat. Dmitriy's mother, Maria Nagaya, exiled with him to Uglich by Godunov, claims he was assassinated. Rumors linking Boris to the crime are circulated by his enemies.
  • 1598 – Tsar Fyodor I dies. He is virtually the last representative of the Ryurik Dynasty that has ruled Russia for 7 centuries. Patriarch Job of Moscow nominates Boris to succeed Fyodor I as Tsar, despite the rumors that Boris ordered the murder of Dmitry. Boris agrees to ascend the throne only if elected by the Zemsky Sobor. This the assembly does unanimously, and Boris is crowned the same year.
  • 1604 – A pretender to the throne appears, claiming to be Tsarevich Dmitry, but believed to be in reality one Grigory Otrepyev. He gains the support of the Polish aristocracy, and, obtaining a force of soldiers, he marches on Moscow. Crossing into Russia, Dmitry’s invasion force is joined by disaffected Cossacks. However, after a few victories, the campaign loses momentum.
  • 1605 – Boris dies of unknown causes. He is succeeded by his son Fyodor, now Fyodor II. The death of Boris gives new life to the campaign of the False Dmitry, who enters Moscow. Boyars who flock to his side murder Fyodor II and his mother.
  • 1606 – False Dmitry I is murdered, and is succeeded by Vasily Shuysky, now Vasily IV.
  • 1610 – Vasily IV is deposed, and dies two years later in a Polish prison. Another pretender claiming to be Dmitry Ivanovich, False Dmitry II, is murdered.
  • 1612 – Yet a third pretender, False Dmitry III, appears. He is captured and executed.
  • 1613 – The Time of Troubles comes to a close with the accession of Mikhail Romanov, son of Fyodor Romanov, who had been persecuted under Boris Godunov's reign.

Note: The culpability of Boris in the matter of Dmitriy's death can neither be proved nor disproved. Karamzin accepted his guilt as fact, and Pushkin and Mussorgsky after him assumed it to be true, at least for the purpose of creating a tragedy in the mold of Shakespeare. Modern historians, however, tend to acquit Boris of the crime.

Synopsis

Shishkov and Bocharev designed the scenes used in the first complete performance in 1874. Some of their work accompanies the synopsis below.

The numbers in brackets refer to the principal arias and numbers of the opera.

Shishkov's design for the Novodevichiy Monastery Scene (1870)

The Courtyard of the Novodevichiy Monastery near Moscow (1598). There is a brief introduction foreshadowing the 'Dmitriy Motif' [1]. The curtain opens on a crowd in the courtyard of the monastery, where the weary regent Boris Godunov has temporarily retired. Nikitich the police officer orders the assembled people to kneel. He goads them to clamor for Boris to accept the throne. They sing a chorus of supplication [2]. The people are bewildered about their purpose and soon fall to bickering with each other, resuming their entreaties only when the policeman threatens them with his club. Their chorus reaches a feverish climax. Andrey Shchelkalov, the Secretary of the Duma, appears from inside the convent, informs the people that Boris still refuses the throne of Russia [3], and requests that they pray that he will relent. An approaching procession of pilgrims and cripples sings a hymn [4], exhorting the people to crush the spirit of anarchy in the land, take up holy icons, and go to meet the Tsar. They disappear into the monastery. [The people discuss the statements of the pilgrims. Many remain bewildered about the identity of this Tsar. The police officer interrupts their discussion, ordering them to appear the next day at the Moscow Kremlin. The people move on.]

Bocharov's design for the Cathedral Square Scene (1874)

[Cathedral] Square in the Moscow Kremlin (1598). The unforgettable orchestral introduction based on bell motifs suggests the working of (political?) machinery. From the porch of the Cathedral of the Dormition, Prince Shuysky exhorts the people to glorify Tsar Boris. As the people sing a great chorus of praise [5], a solemn procession of boyars exits the cathedral. The people kneel. Boris appears on the porch of the cathedral. The shouts of "Glory!" reach a crescendo and subside. Boris addresses the people with a brief monologue [6] betraying a feeling of ominous foreboding. He prays for God's blessing, and hopes to be a good and just ruler. He invites the people to a great feast, and then proceeds to the Cathedral of the Archangel to kneel at the tombs of Russia's past rulers. The people wish Boris a long life [7]. A crowd breaks toward the cathedral. The police officers struggle to maintain order. The people resume their shouts of "Glory!"

A Cell in the Chudov Monastery [within the Moscow Kremlin] (1603). Pimen, an aged monk, writes a chronicle [8] of Russian history. The young novice Grigoriy awakes from a horrible (and prophetic) dream, which he relates to Pimen, in which he climbed a high tower, was mocked by the people of Moscow, and fell. Pimen advises him to fast and pray. Grigoriy voices his regret that he retired so soon from worldly affairs to become a monk. He envies Pimen's early life of adventure. Pimen speaks approvingly of Ivan the Terrible and his son Fyodor, who both exhibited great spiritual devotion, and draws a contrast with Boris, a regicide. [At Grigoriy's request, Pimen tells the vivid details of the scene of the murder of Dmitry Ivanovich, which he witnessed in Uglich.] Upon discovering the similarity in age between himself and the murdered Tsarevich, Grigoriy immediately conceives the idea of posing as the Pretender. As Pimen departs for Matins, Grigoriy declares that Boris shall escape neither the judgment of the people, nor that of God.

Shishkov's design for the Inn Scene (1870)

An Inn on the Lithuanian Border (1603). There is a brief orchestral introduction based on three prominent themes from this scene. [The Hostess enters and sings the 'Song of the Drake' [9]. It is interrupted towards the end by approaching voices.] The vagrants Varlaam and Misail, who are begging for alms, and their companion Grigoriy, who is in secular garb, arrive and enter. After exchanging greetings, the rascally Varlaam requests some wine. When the Hostess returns with a bottle, he drinks and launches into a ferocious song [10] of Ivan the Terrible's siege of Kazan. The two monks quickly become tipsy, and soon begin to doze. Grigoriy quietly asks the Hostess for directions to the Lithuanian border. Policemen appear in search of a fugitive heretic monk (Grigoriy) who has run off from the Chudov Monastery declaring that he will become Tsar in Moscow. Noticing Varlaam's suspicious behavior, the lead policeman thinks he has found his man. He cannot read the edict he is carrying, however, so Grigoriy volunteers to read it. He does so, but, eyeing Varlaam carefully, he substitutes Varlaam's description for his own. The policemen quickly seize Varlaam, who protests his innocence and asks to read the edict. He haltingly reads the description of the suspect, which of course matches Grigoriy. Grigoriy brandishes a dagger, and leaps out of the window. The men set off in pursuit.

The Interior of the Tsar's Terem in the Moscow Kremlin (1604). Kseniya, clutching a portrait of her betrothed who has died, sings a brief aria [11]. Her nurse and brother Fyodor attempt to cheer her up with some songs [12] [13]. Boris suddenly enters in an agitated state, briefly consoles Kseniya, and then sends her and her nurse to their own quarters. After encouraging his son to resume his studies, he gives vent to his emotions in a long and fine monologue [14]. At the end of this aria he reveals that he has been disturbed by a vision of a bloody child begging for mercy. A commotion breaks out in his children's quarters. Boris sends Fyodor to ascertain the nature of the disturbance. The boyar-in-attendance brings word of the arrival of Prince Shuysky, and reports a denunciation against him for his intrigues. Fyodor returns to relate the whimsical tale [15] of his pet parrot's escape. Boris advises Fyodor to beware of evil and cunning advisor's such as Shuysky when he becomes Tsar. Shuysky enters just at that moment, bearing grave tidings. A Pretender has appeared in Lithuania. Boris angrily demands to know his identity. Shuysky fears the Pretender might attract a following bearing the name of Dmitriy. Shaken by this revelation, Boris dismisses Fyodor. Clearly on the edge of madness, he asks Shuysky whether he has ever heard of dead children rising from their graves to interrogate Tsars. Boris wants Shuysky's assurance that the dead child he had seen in Uglich was really Dmitriy. Shuysky confirms this in a brief and beautiful aria [16]. But he gives hints that a miracle has occurred. Boris begins choking in a paroxysm of guilt and remorse, and gives a sign for Shuysky to depart. A clock begins chiming. Boris hallucinates [17]. The spectre of the dead Dmitriy reaches out to him. Addressing the apparition, he denies his responsibility for the crime: "Begone, begone child! Not I... the will of the people!" He collapses, praying that God will have mercy on his guilty soul.

File:Shishkov - Marina's Boudoir.jpg
Shishkov's design for the Scene in Marina's Boudoir (1870)

Marina's Boudoir in Sandomir, Poland (1604). Maidens sing a delicate, sentimental song [18] to entertain Marina as her chambermaid dresses her hair. Marina declares her preference for heroic songs of chivalry. She dismisses everyone. Alone, she sings of her boredom [19], of Dmitriy, and of her thirst for adventure, power, and glory. The Jesuit Rangoni enters and attempts to obtain Marina's promise that when she becomes Tsaritsa she will convert the heretics of Moscow (Russian Orthodox Church) to the true faith (Roman Catholicism). When Marina wonders why this should be her burden, Rangoni angrily declares that she shall stop short of nothing, including sacrificing her honor, to obey the dictates of the church. Marina expresses contempt of his hypocritical insinuations and demands he leave. As Rangoni ominously tells her she is in the thrall of infernal forces, Marina collapses in dread. Rangoni demands her obedience.

Shishkov's design for the Scene in the Garden of Mniszech's Castle (1870)

Mniszech's Castle in Sandomir. A Garden. A Fountain. A Moonlit Night (1604). Shimmering strings and harp accompany a pensive version of the 'Dmitriy Motif'. The Pretender dreams of an assignation with Marina in the garden of her father's castle. To his annoyance, Rangoni finds him. However, he brings news from Marina. She begs to speak with him. The Pretender resolves to throw himself at Marina's feet, begging her to be his wife and Tsaritsa. He entreats Rangoni to lead him to Marina. Rangoni, however, first wants the Pretender to consider him a father, allowing him to follow his every step and thought. The Pretender agrees not to part from him if he will only allow him to see Marina. Rangoni convinces the Pretender to hide as the Polish Nobles issue from the castle dancing a polonaise [20]. Marina flirts, dancing on the arm of an older man. The Poles sing of taking the Muscovite throne, defeating the army of Boris, and capturing him. They return to the castle. The Pretender comes out of hiding. Marina appears and calls to him. He is lovesick. She, however, only wants to know when he will be Tsar, and declares she can only be seduced by a throne and a crown. The Pretender kneels at her feet. She tells him to be off, and calls him a lackey. Having reached his limit, he tells her he will depart the next day to lead his army to Moscow and to his father's throne. Furthermore, as Tsar he will take pleasure in watching her come crawling back looking for her own lost throne, and will command everyone to laugh at her. She quickly changes her tune, and as they sing a love duet [21], she finally admits she loves him. Rangoni slithers out of hiding to savor his accomplishment.

The Square before the Cathedral of Vasiliy the Blessed in Moscow (1605). A crowd mills about before the Cathedral of the Intercession (Vasiliy the Blessed) in Red Square. Many are beggars, and policemen occasionally appear. A group of men enters, discussing the anathema the deacon had declared on Grishka (Grigoriy) Otrepyev in the mass. They identify Grishka as being the Tsarevich. With growing excitement they sing of the advance of his forces to Kromï, of his intent to retake his father's throne, and of the death he will mete out to the Godunovs. A yuródivïy enters, pursued by urchins. He sings a nonsensical song about the moon, a crying kitten, and praying to God. The boys (urchins) greet him and rap on his metal hat. The yuródivïy has a kopek, which the urchins promptly steal. He whines pathetically. The Tsar's retinue issues from the Cathedral. The boyars distribute alms. In a powerful chorus [22], the hungry people beg for bread. As the chorus subsides, the yuródivïy's cries are heard. Boris asks why he cries. The yuródivïy reports the theft of his kopek and asks Boris to order the boys' slaughter, just as he did in the case of the Tsarevich. Shuysky wants the yuródivïy seized, but Boris instead asks for the holy man's prayers. As Boris exits, the yurodivïy declares he cannot pray for Tsar Herod. The yuródivïy then sings his lament [23] about the fate of Russia.

Shishkov's design for the Palace of Facets Scene (1870)

The Palace of Facets in the Moscow Kremlin (1605). A session of the Duma is in progress. [The assembled boyars listen as Shchelkalov informs them of the Pretender's advance and requests they decide his fate.] After some arguments, the boyars agree [24], in a powerful chorus, that the Pretender and his sympathizers should be executed. Shuysky, whom they distrust, arrives with an interesting story. Upon leaving the Tsar's presence, he observed Boris attempting to drive away the ghost of the dead Tsarevich, exclaiming: "Begone, begone child!" The boyars accuse Shuysky of spreading lies. However, just at that moment, Boris enters, echoing Shuysky: "Begone child!" The boyars are horrified. After Boris comes to his senses, Shuysky informs him that a humble old man craves an audience. Pimen enters and tells the story [25] of a blind man who heard the voice of the Tsarevich in a dream. Dmitry instructed him to go to Uglich and pray at his grave, for he has become a miracle worker in heaven. The man did as instructed and regained his sight. This story is the final blow for Boris. He calls for his son, declares he is dying [26], and gives him final counsel. In a very dramatic and moving scene [27], he dies.

A Forest Glade near Kromï (1605). Tempestuous music accompanies the entry of a crowd of vagabonds who have captured the boyar Khrushchov. The crowd taunts him, then bows in mock homage [28]. The yuródivïy enters, pursued by urchins. He sings a nonsensical song about the moon, a crying kitten, and praying to God. The boys (urchins) greet him and rap on his metal hat. The yuródivïy has a kopek, which the urchins promptly steal. He whines pathetically. Varlaam and Misail are heard in the distance singing of the crimes of Boris and his henchmen. They enter. The crowd gets worked up to a frenzy [29] denouncing Boris. Two Jesuits are heard in the distance chanting in Latin, praying that God will save Dmitriy. They enter. The vagabonds prepare to hang the Jesuits, who appeal to the Holy Virgin for aid. Processional music heralds the arrival of Dmitriy and his forces. Varlaam and Misail evidently do not recognize him as the companion they chased into Lithuania, and glorify [30] him along with the crowd. The Pretender calls those persecuted by Godunov to his side. He frees Khrushchov, and calls on all to march on Moscow. All exeunt except the Yuródivïy, who sings a plaintive song [31] of the arrival of the enemy, of darkness falling, and of woe to Russia.

Principal arias and numbers

Boris Godunov is essentially a "number opera". Prominent arias and numbers are:

  1. Introduction (Orchestra)
  2. Chorus:"To whom dost thou abandon us, our father?" (People)
  3. Aria: "True believers! The boyar is unrelenting!" (Shchelkalov)
  4. Chorus: "Glory to Thee, Creator on high" (Pilgrims)
  5. Chorus: "Like the glory of the beautiful sun in the sky" (People)
  6. Monologue: "My soul grieves" (Boris)
  7. Chorus: "Glory! Glory! Glory!" (People)
  8. Aria: "Yet one last tale" (Pimen)
  9. Song: "I have caught a gray drake" (Hostess, Varlaam, Missail)
  10. Song: "It happened in the city of Kazan" (Varlaam)
  11. Aria: "Where are you, my bridegroom?" (Kseniya)
  12. Song: "A gnat was chopping wood" (Fyodor, Nurse)
  13. Duet: "A song of this and that" (Fyodor, Nurse)
  14. Monologue: "I have attained supreme power" (Boris)
  15. Song: "Our little parrot was sitting" (Fyodor)
  16. Aria: "In Uglich, in the cathedral" (Shuyskiy)
  17. Scene: Hallucination ('Clock') Scene (Boris)
  18. Chorus: "On the blue Vistula" (Maidens)
  19. Aria: "How tedious and dull" (Marina)
  20. Dance: Polonaise (Marina, Polish nobles)
  21. Duet: "O Tsarevich, I implore you" (Marina, Dmitry)
  22. Chorus: "Benefactor father (Give us bread)" (People)
  23. Song: "Flow, flow, bitter tears!" (Yurodivïy)
  24. Chorus: "Well, let's put it to a vote, boyars" (Boyars)
  25. Aria: "One day, at the evening hour" (Pimen)
  26. Aria: "Farewell, my son, I am dying" (Boris)
  27. Scene: "The bell! The funeral bell!" (Boris, Fyodor, Chorus)
  28. Chorus: "Not a falcon flying in the heavens" (Vagabonds)
  29. Chorus: "Broken free, gone on a rampage" (Vagabonds)
  30. Chorus: "Glory to thee, Tsarevich!" (Varlaam, Misail, Vagabonds)
  31. Song: "Flow, flow, bitter tears!" (Yurodivïy)

Versions by other hands

Nikolai Rimsky-Korsakov

After Mussorgsky's death in 1881, his friend Nikolai Rimsky-Korsakov undertook to put his scores in order, completing Khovanshchina, reconstructing Night on Bald Mountain, and "correcting" some songs. Next, he turned to Boris.

He experimented first with the Polonaise, scoring it for a Wagner-sized orchestra in 1888. In 1892 he revised the Coronation Scene, and completed the remainder of the opera in the 1874 Vocal Score, although with significant cuts, by 1896. He later completed another revision in 1908, this time restoring the cuts, adding some music to the Coronation Scene (because Diaghilev wanted more stage spectacle for the Paris premiere), and replacing the ending of Act III. These revisions went beyond mere reorchestration. He made substantial modifications to harmony, melody, dynamics, etc., even changing the order of scenes.

Rimsky-Korsakov has come under fire from some critics for altering Boris. The defense usually made by his supporters is that without his ministrations, Mussorgsky's opera would have faded from the repertory due to difficulty in appreciating his raw and uncompromising idiom. Therefore, Rimsky-Korsakov was justified in making improvements to keep the work alive and increase the public's awareness of Mussorgsky's melodic and dramatic genius. The validity of this argument cannot be proven.

File:Dmitri1.jpg
Dmitriy Shostakovich

It must be admitted that some listeners simply find Rimsky-Korsakov's glossy version more aesthetically pleasing. His version of Boris Godunov remained the one usually performed in Russia, even after Mussorgsky's earthier original (1872) re-established itself in the West.

Boris Godunov was also edited by Dmitriy Shostakovich in 1939–1940. He confined himself largely to reorchestrating the opera, and was more respectful of the composer's unique melodic and harmonic style. However, Shostakovich greatly increased the contributions of the woodwind and especially brass instruments to the score, a significant departure from the practice of Mussorgsky, who exercised great restraint in his instrumentation, preferring to utilize the individual qualities of these instruments for specific purposes.

Quotes

Modest Mussorgsky, in a manuscript dedication, 21 January, 1874, just prior to the premiere:

"I regard the people as a great being, inspired by a single idea. This is my problem. I strove to solve it in opera."

Nikolai Rimsky-Korsakov:

  • "I worship Boris Godunov and hate it. I worship it for its originality, power, boldness, independence, and beauty. I hate it for its shortcomings, the roughness of its harmonies, the incoherences in the music."
  • "Although I know I shall be cursed for so doing, I will revise Boris. There are countless absurdities in its harmonies, and at times in its melodies."
  • "Having arranged the new version of Boris Godunov I had not destroyed its original form, had not painted out the old frescoes forever. If ever the conclusion is arrived at that the original is better, worthier than my revision, then mine will be discarded and Boris Godunov will be performed according to the original score."

César Cui:

"Maybe Rimsky-Korsakov's harmonies are softer and more natural, his part-writing better, his scoring more skillful; but the result is not Mussorgsky, nor what Mussorgsky aimed at. The genuine music, with all its shortcomings, was more appropriate. I regret the genuine Boris, and feel that should it ever be revived on the stage of the Mariinskiy Theatre, it is desirable that it should be in the original."

Mily Balakirev:

"Besides re-scoring Boris and correcting harmonies in it (which was quite justifiable), he [Rimsky-Korsakov] introduced in it many arbitrary alterations, which disfigured the music. He also spoilt the opera by changing the order of scenes".

Discography

Most recent recordings of Boris Godunov (circa last 25 years) use the composer’s 1872 version as a base. Classic recordings of yesteryear use the Rimsky-Korsakov version of 1908.

The recordings below are listed in reverse chronological order. All recordings are complete or near complete except those of Shalyapin (Chaliapin), which are listed because they are of important historical interest.

Key:

[A] = Abridged
[C] = Conflated
[E] = Excerpts
[L] = Live recording
[M] = Monoaural recording

Original Version of 1869

  • Gergiev, Kirov Opera & Orchestra, Putilin (1997)

Revised Version of 1872

  • Gergiev, Kirov Opera & Orchestra, Vaneyev (1997)
  • Abbado, Berliner Philharmoniker, Kotscherga (1993) [C]
  • Tchakarov, Sofia Festival Orchestra, Ghiaurov (1991) [C]
  • Rostropovich, National Symphony Orchestra, Raimondi (1987) [C]
  • Kitayenko, Danish Radio Symphony Orchestra, Haugland (1986) [C] [A]
  • Fedoseyev, USSR Radio & TV Symphony Orchestra, Vedernikov (1978-1983) [C]
  • Semkov, Polish Radio Orchestra, Talvela (1976) [C]

Rimsky-Korsakov Version of 1908

  • Ermler, Bolshoi Theater Orchestra, Nesterenko (1985)
  • Karajan, Vienna Philharmonic, Ghiaurov (1970) [C]
  • Karajan, Vienna Philharmonic, Ghiaurov (1966) [L]
  • Melik-Pashayev, Bolshoi Theater Orchestra, London (1963)
  • Melik-Pashayev, Bolshoi Theater Orchestra, Petrov (1962) [C]
  • Cluytens, Orchestre de la Societe des Concerts du Conservatoire, Christoff (1962)
  • Dobrowen, Orchestre National de la Radiodiffusion, Christoff (1952) [M]
  • Golovanov, Bolshoi Theater Orchestra, Pirogov (1949) [M]
  • Golovanov, Bolshoi Theater Orchestra, Reizen (1948) [M]
  • Various Conductors and Orchestras, Shalyapin (1911, 1922, 1923, 1928, 1931) [E] [M]

References

  • Calvocoressi, M.D., Abraham, G., Mussorgsky, 'Master Musicians' Series, London: J.M.Dent & Sons, Ltd., 1946
  • Calvocoressi, M.D., Modest Mussorgsky: His Life and Works, London: Rockliff, 1956

External links

Wikimedia Commons has media related to Boris Godunov (opera).

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