Name: Boris Godunov
Start: 2008-10-10T00:00:00.000Z
End: 2008-10-10T00:00:00.000Z
Location: Opera Theatre

Organization

Conductor

Hristo Ignatov

Stage director

Pavel Gerdzhikov

Set designer

Ivan Tokadzhiev

Costume designer

Chavdar Chomakov

Chorus master

Malina Hubcheva

State Opera Varna

Boris Godunov

Varna

Bulgaria

Opera Theatre

Boris Godunov Musorgsky

Public

Approved

When in 1868 Prof. VV Nikolski recommended to Mussorgsky the plot of Pushkin's tragedy, the composer was completely captivated by the idea of ​​writing an opera on "Boris Godunov".
He abandons all his ideas and focuses only on this work. Modest Mussorgsky himself wrote the libretto for Boris Godunov, using, in addition to Pushkin's tragedy, a number of materials from NM Karamzin's History of the Russian State. Work on the libretto was completed in the autumn of 1868, and work on the music began immediately thereafter. He sketched the first version of the opera very quickly.

"Boris Godunov" was completed in piano in May 1869, and the orchestration - until the end of December of that year. During the time Mussorgsky wrote "Boris Godunov", his close friends from the "Mighty Five" noted the wonderful mood and inspiration that embraced the talented musician.

In "Chronicle of my musical life" Rimsky-Korsakov tells about some details of the writing and presentation of "Boris Godunov". In the summer of 1870, Mussorgsky presented his opera to the Directorate of Imperial Theaters, but it was rejected.
The offended and embittered Mussorski collects his score.
After overcoming his resentment, he decides to rework it. One of the pretexts for rejection is that the opera lacks a central female role. Now Mussorski is adding the two Polish paintings and the scene "Under Kromi".

He reworked the text again, focusing even more on the two plot lines: the social tragedy of the people and the personal tragedy of Boris, tormented by his conscience. The second edition of the opera was completed in 1872. On the piano of Boris Godunov, Mussorgsky wrote: "I perceive the people as a great person, animated by an idea: this is my task. I tried to resolve it at the opera. "

The composer presented the revised opera again to the Directorate of Theaters, but it was again rejected. Boris Godunov was first performed on February 8, 1874 at the Mariinsky Opera House in St. Petersburg.
VV Stasov writes about the premiere: “It was a great celebration ... The old people, the supporters of the routine, the admirers of the sent opera music were angry (this is also a celebration!); the pedants from the conservatory and the critics protested with foam at the mouth ... But that's why the young generation was rejoicing ... ”

"Boris Godunov" lasted more than 20 performances with great interest of the audience, but soon began to make random cuts and in 1882 removed it from the repertoire. In 1888 "Boris Godunov" was staged for the first time at the Bolshoi Theater in Moscow, and in St. Petersburg it was resumed in 1896 in the edition and instrumentation of Rimsky-Korsakov.

THE MUSIC
The opera "Boris Godunov" is one of the greatest achievements of all world opera literature. What distinguishes this ingenious creation is the astonishing richness with which the main musical images are depicted. The spiritual drama of the criminal king and the social drama of the people are the two main lines in musical development. Naturally, the role of Boris has the most striking characteristics.

The power of influence is great in all the scenes with Boris. An extremely strong moment in the opera is his great monologue from the fifth picture: "I have reached supreme power", one of the culminations in the work, saturated with deep feelings of suffering of the king and man. However, the strongest episode in the opera is Boris' last aria "Forgive me, my son" filled with real tragedy.

 

Other actors, regardless of the size of their parties, are also portrayed with certain bright personalities. Prince Shuisky is the image that contrasts with the king; Barlaam is alive and imbued with true national immediacy; the image of the monk Pimen is majestic, and the Impostor is especially interesting for his originality, romance and ambition. The music of "Boris Godunov" is predominantly dramatic and full of tension. Against this gloomy background, Barlaam's magnificent song contrasts sharply.

English

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