My favorite version of my favorite opera. Given today's political climate, the use of a modern setting makes it all the more frightening and dark. Thanks so much for posting.
Version moderne mais qui ne trahit pas l'oeuvre au bénéfice du metteur en scène comme les recentes productions d'opéra en France. C'est donc avec grand plaisir que je retrouve cette unique version récente filmée de ce chef d'œuvre de Moussorgski . Le drame est present, avec de grands moments d'émotion. Sous titrage en français pour suivre le drame.. c'est de l'or. Merci ❤
It is so wonderful to hear the original version of this masterpiece by Mussorgsky and not to have to worry about someone else's distorted version. The singers and orchestra deliver splendid performances. I'm not going to mention my thoughts on the "modern" production.
The splendor of the sets is quite uplifting. It reminds me of Walmart. Such a wonderful gesture towards this old classic of the repertoire- and so imaginative.
I have by now seen all productions available on you tube, (and one live performance in Amsterdam several decades ago) and I find this production by far the most interesting. It is a very "political" version due to the stage settings and the costumes , these make this opera both timeless and of our time. All performers did well, but I was really moved to tears by the Holy Fool who lost his kopeke.
Sorry to be so off topic but does anybody know a way to get back into an Instagram account? I somehow lost my password. I love any help you can give me.
@Skyler Quinton I really appreciate your reply. I got to the site thru google and Im waiting for the hacking stuff atm. Seems to take a while so I will reply here later when my account password hopefully is recovered.
Whatever you think of the modern costumes, this production is very well sung, and even better acted. Some of the singers are very natural on stage, which is never a given. The boy playing Fyodor is particularily gifted. Gergiev's conducting is correct without being fantastic, and the orchestra does its job competently. All in all, this is a good production, if the optics don't bother you (they don't bother me).
Eine grandiose Inszenierung, weit besser als die Aufführung zur Eröffnung der Mailänder Scala vor einigen Wochen. Selten gibt es eine solche Übereinstimmung von singen und spielen wie hier. Üblicherweise ist ja der Tod des Boris "grandios überhöht" dargestellt, auch die Musik trumpft auf. Hier aber ist er viel mehr der private Boris. Grandios auch Fjodor, gespielt wie gesungen von einem Jungen, normalerweise nimmt man einen Sopran; das hier war viel besser. Den Polenakt vermisst man überhaupt nicht. Auch stelle ich fest, dass die Karajan-Aufnahme, in der Rimsky-Korsakow-Fassung, doch eine gewisse Verfälschung ist, ein "aufgeblasener" Boris sozusagen. Die Elemente von modernem Regietheater (Laptop, Whisky Jack Daniels, Kameras und moderne Anzüge) haben mich diesmal kaum gestört, so überzeugend war das ganze.
io lo trovo bellissimo anche non conoscendo la lingua russa. Una vera scoperta ! e mi piace anche molto la realizzazione. Peccato sia fuori sync. La musica è stupenda.
Même si je trouve que les transpositions de Boris Godounov a l’époque contemporaine sont le plus souvent absurdes, je dois avouer que cette transposition dans la Russie d’un autre Boris, dans les années 1990, est plutôt réussie.
I know that at 3:41+ they are gathering to call on Boris to accept the Crown of the Tsar, but the way they are dressed, it looks like it is Tsar Putin they are going to call on!
I'm not a particular fan of the modern production, but I'm not as horrified by it as some. Don't forget that Boris in Russia is as common as Carmen or Boheme is in the West. Operagoers have seen it many times, so directors feel they need to come up with a different take. Not to my taste, but I can live with it.
They even did a modern production recently of Rossini's Guillaume Tell, a relatively seldom performed work (despite the Overture). So really no impetus for a "fresh approach" (unlike Carmen or Traviata) in that case.
Я не очень люблю "современные" постановки - когда идёшь в оперу, хочется выпасть из действительности в другое время, в другую эпоху. Но в этой постановке оказалось очень интересно разглядывать мелочи, их тут так много) поскольку в Мариинке мне доступны только самые дешёвые билеты, эти мелочи далеко не все видны, и смотрю эту запись и радуюсь, видя ещё какую-нибудь "фишку") особенно хорошо зная 90-е, много можно увидеть) "не для всех" постановочка, фильм "Сны" напоминает местами даже) Вообще, эту, 1869г., версию "Бориса" люблю больше, но постановка неоднозначная, конечно)
Я не понимаю, зачем поганить классику. И жаль что в этом участвовал великий Гергиев. Интересно, кто режиссёр данной постановки. Есть ли информация в нете?
I can understand updating the staging, but I can't really understand what's going on with people seemingly at a train station with luggage.... It does not help that subtitles are in French, but I have a rough idea of the libretto so the visuals don't seem to make sense from what I know of the story, especially the "coronation scene" 😂
Pity for you , because you'd see the acting and the words are very congruents. (And very actual : Putin has shown us how he got the power , criminally) The History repeats, las...
Вы не поймёте. Вы не жили в России в 90-е годы. Вы не видели и не понимали Бориса Ельцина и первый парламент РФ. Эту постановку могут понять только жители РФ, видевшие 80-90 годы своими глазами.
@@robertlambeaux897а при чем тут Путин?? Это не про него. В России было 2 Бориса у власти: один - царь Борис Годунов(о котором эта опера), другой - президент Борис Ельцин. Оба они пришли к власти сомнительным образом, в очень сложные времена; оба не смогли удержать Россию от кризиса, хотя делали для этого всё, что могли. Именно с годами правления президента Ельцина(1991-1999гг) и проведена параллель в данной постановке. Именно эта версия оперы выбрана не случайно: текст и сюжет данной версии более напоминает времена Ельцина. Но тем, кто тут тогда не жил, этого не понять.
I see a lot of people in the comments section bemoaning the fact that the modernized/avant garde staging for this production has ruined the entire experience and that "Boris" should always look like "Boris". It's not legitimate art without the stone arches of the royal terem, the snowy backdrop of the Novodevichiy Monastery, the brooding grandeur of the Cathedral of Vasiliy the Bessed, and, most importantly, long, bristling beards on every man, woman, and child. I'm not a big fan of the "continental" designers and productions myself. If I dip into my rainy day funds for tickets to, say, "Gotterdammerung", I most certainly did not splurge on über-expensive seats just to get a nice, big close-up view of the flabby backside of Gunther, his bodacious posterior’s gelatinous rolls barely contained by a most distressed pair of threadbare hotpants - consequently, setting the perfect atmosphere for plenty of creepy, cringey, and incestuous rolls in the hay alongside his voluptuous, nighty-wearing sister, Gurtune! ......Sorry, got on a bit of a tangent there. Yeah, regarding this production....meh. I think as far as modern updates go, it's probably one of the better ones. Эх, время покажет.
The staging is a major critique of Russian nationalism and the role of the Orthodox Church. Great. If this were the 1872 version, with the "Polish act", it would include EU and NATO flags?
Rimsky was one of the best orchestrators of all time BUT his version of Boris was just too pretty-fied! He wasted somewhere near two years of his life working on it too.
C'est vrai , il ne faudrait pas réfléchir, juste rêvasser en écoutant la "belle" musique. Hé bien non, quittez votre zone de confort et ainsi l'opéra restera "moderne" et non une poussiéreuse pièce de musée.
(переслушивая в очередной раз) Интересно. Столько комментариев от иностранцев... но они ведь не понимают и никогда не поймут этой постановки. Её поймут только те, кто был тогда - тут, в России. Кто видел абсурд 90-х своими глазами и способен мыслить абстрактно...
They're trying to make this opera "relevant" to today's jaded, ahistorical, short attention-spanned younger generation. I say, the greatness of Moussorgsky's music combined with its penetrating psychological portrait of human folly makes it timeless without all the pretentious window dressing! Someone seems to have forgotten the point of the exercise: that we're here to listen to great music and view great performances, not to be distracted by grandstanding from the costume and set department. But, gee, I must be an anachronism and a reactionary for preferring my "Boris" the old way.
Many (I should say most) modern productions detract from the music. An historical drama such as this, is one such production. It is like painting a moustache on the Mona Lisa.
In and of themselves, nothing (save for orthodox traditionalists who refuse to accept any deviation from the traditional setting). Too often, however, these productions not only detract from the music, they are completely at odds with what the opera is about. This is opera, not theater, and the music ultimately is the most critical element. Too many directors (particularly in Europe) devise the most bizarre productions, thinking their creations are more important than the music. Such productions are appropriately derided as "Eurotrash." This production, though set hundreds of years ahead of the historical events of the opera, respects the story line.
Pity for you , because you'd see the acting and the words are very congruents. (And very actual : Putin has shown us how he got the power , criminally) The History repeats, las...
Тут стремление к "сенсационному прочтению" и эпатажу вылилось в низкопробное и грязное фиглярство. Постановщик "нагрузил" наш русский и всемирный шедевр такой невообразимой гадостью и пошлостью, что просто диву даёшься. Где - то в подвальном молодёжном экспериментальном театрике в Лондоне или Берлине это ещё можно представить, но не на главной же сцене Российской Империи.
Gergiev has discovered modern staging and without any criticism goes headlong into the stupidities of the occidental operas in France, Belgium, Germany, and the USA! in War and Piece there was a cadillac or Russian equivalent on stage, for the Pique Dame, the countess was represented as a beautiful ghost coming in at the beginning of the opera while the main character was saying that she looked like an old sorcerer! One gets the impression that these guys have not read the librettos and the dialog attached to each aria!
мечты либерашек о покаянии поганой власти и поганого народа будоражат твои влажные онанисткие фантазии? опера не об этом, ничего опасного в ней нет, Пушкин и Мусоргский были патриотами и поддерживали бы Россию сегодня
Boris Godunov is one of my favorite operas, but in spite of the good singers, orchestra and sound, this production with dresses and things of today is HORRIBLE!
Methinks this trend of doing historic operas in contemporary settings is an expense saving measure for some of these opera companies. After all, they don't have to make costumes, just come wearing your street clothes. To my mind, this radical updating seldom works.
I appreciate and understand your sentiment, but I really enjoy the casting of the 17C story into the early 2000s. There is a certain piquancy and resonance about the timeless story being presented in both times. (And BTW, is it not surprising how many challengers to the power structure in Russia end up with severe health problems?) Maybe there is room in our cultural space for both?
It's superfluous because great artwork is always timeless and dealing with eternal topics that belong to human nature itself - so if you modernize a great opera it's just for people who don't know or don't care about art
Often what it really boils down to is budget. It is a lot cheaper to go to a thrift store for your costumes than to have elaborate, jeweled costumes. Go cheap, look cheap.
Я мог бы закрыть глаза на то, что вы привнесли в класссичечкую оперу современный подтекст, с какой-то стороны это даже интересно, но во что вы превратили Юродивого? Из трогательного лирического персогажа, от пения которого хочется плакать, персонажа, в образе которого была показана вся тягость России, вы сделали какого-то педиковатого наркомана, к которому вообще никакой симпатии нет. Это мерзкий поступок.
Horrible this preformance with contemporary dresses! I don't know how the public bears this fudge. Horrible esta representación con trajes de hoy. No entiendo cómo el público soporta este bodrio.
Actually, I totally share your generally view on this "modernism" - but exactly that "bar scene" made me reconsider my opinion on this! It is a darn well done scene that exactly portraits the emotions and the drama that I believe Mussorgsky tried to describe in the music! You have to take into account that the American dumbed-down audience does not know or care enough about history to extract the general human conclusions from works that relate that closely to history. They need it contemporary, in order to understand it. Otherwise, they just reject it. Cognitive Dissonance at work...! But it does disappoint me that even Russian "authorities" think that Russians have descended to the same low level of historical appreciation - I would like to believe otherwise.
So sad to see a Boris like this... SO BAD VERSION... This opera is really magic and wonderful. If you want to see a good version go to see Sir Bryn Terfel, u can find it in youtube just put Terfel Boris godunov and it is the complete oepra.
Love the music, hate this garbage production. It is a HISTORICAL drama, a piece of NON-FICTION (with some alterations). There are very specific real-life figures and places which existed/exist, and there is no room for stupid "creative" liberties. This is an opera about a very historical Russia, not the Russia of today. This is not like an opera with a fairly ambiguous fairytale setting like the Magic Flute or something. If you want opera and music to be accessible and not esoteric, you gotta get rid of these wacko directors/producers.
^ I have no idea what you’re talking about. I, for one, don’t want to see an irrelevant non-relatable production and I don’t think anyone else does either.
I hate the production. The sets (if you can call them that) are ridiculous as are the costumes. I think it bears no resemblance to Mussorgski's original intention which is to present an historical pageant not "modernized" by a director who lacks the sensitivity to see beyond his own narrow vision. But opera now is not a singer's profession but the realm of the DIRECTOR. Nor do I think much of the Boris Nitikin. He is bland in the extreme and sings without any real expression (but with a body covered in tattoos, you can hardly expect a genuine artist, which he certainly is not, regardless of the questionable value of his basso or reputation as an opera singer). He hasn't the slightest idea of what he is singing about. He needs to watch Robert Lloyd's magnificent Boris. The only value of this recording is that it preserves the initial version of the Kremlin scene, almost never preformed (although Mussorgski's own revised version of this act is superior in almost every way).
Очень слабый исполнитель Бориса! Хилая копия с Е. Е. Нестеренко! "Гришка" копирует Г. М. Нэлеппа!... Зачем? Нет, это не Голованов, это , того, это значительно йо-го-го!.. Все голоса, особенно басы, "Соболя Сибирские"(без шуток), да жаль, что и молью нещадно побиты, и из за плохого обращения, основательно потёрты! При настрящем муз - худ. управлении это не возможно! Невозможно горько всё это!... Но с другой стороны - "калоша не плaву", может и "дотянем до земли", и за одно это - Земной Поклон!
Не слышали вы Евгения в Мариинке. Слабый?! - ну-ну... Слабый Вагнера и Мусоргского не споёт...и не сыграет. Как столько лет уже в Мариинке. Прямо задело.
@@Voskresena Меня тоже задевает чудовищная деградация того, что раньше называлось «Оперой». Даже хуже того , это уже не деградация, а полный духовный и нравственный распад... , думаю, что уже необратимый.
@@dmitrikostov4803 так говорили и про живопись во времена импрессионистов... Так говорят всегда и во все времена про многое в искусстве. Однако искусство не мертво, оно живет и меняется, экспериментирует и юродствует. Застаивается и возрождается. Уходит то в одну, то в другую сторону. И продолжает жить. Это касается любой формы искусства. Художника может обидеть всякий, но не всякий способен создать что-то своё.
![Megan Thee Stallion - Neva Play (feat. RM) [Official Video]](http://i.ytimg.com/vi/TpYTyAaTRts/mqdefault.jpg)
My favorite version of my favorite opera. Given today's political climate, the use of a modern setting makes it all the more frightening and dark. Thanks so much for posting.
Version moderne mais qui ne trahit pas l'oeuvre au bénéfice du metteur en scène comme les recentes productions d'opéra en France. C'est donc avec grand plaisir que je retrouve cette unique version récente filmée de ce chef d'œuvre de Moussorgski . Le drame est present, avec de grands moments d'émotion. Sous titrage en français pour suivre le drame.. c'est de l'or.
Merci ❤
It is so wonderful to hear the original version of this masterpiece by Mussorgsky and not to have to worry about someone else's distorted version. The singers and orchestra deliver splendid performances. I'm not going to mention my thoughts on the "modern" production.
See the Robert Lloyd version also filmed at the Mariinski with the same conductor (in 1990). It is vastly superior to this one in EVERY aspect.
The splendor of the sets is quite uplifting. It reminds me of Walmart. Such a wonderful gesture towards this old classic of the repertoire- and so imaginative.
I have by now seen all productions available on you tube, (and one live performance in Amsterdam several decades ago) and I find this production by far the most interesting. It is a very "political" version due to the stage settings and the costumes , these make this opera both timeless and of our time.
All performers did well, but I was really moved to tears by the Holy Fool who lost his kopeke.
Sorry to be so off topic but does anybody know a way to get back into an Instagram account?
I somehow lost my password. I love any help you can give me.
@Randy Elliott Instablaster ;)
@Skyler Quinton I really appreciate your reply. I got to the site thru google and Im waiting for the hacking stuff atm.
Seems to take a while so I will reply here later when my account password hopefully is recovered.
@Skyler Quinton it worked and I now got access to my account again. I am so happy!
Thank you so much, you really help me out !
@Randy Elliott no problem :D
Whatever you think of the modern costumes, this production is very well sung, and even better acted. Some of the singers are very natural on stage, which is never a given. The boy playing Fyodor is particularily gifted. Gergiev's conducting is correct without being fantastic, and the orchestra does its job competently. All in all, this is a good production, if the optics don't bother you (they don't bother me).
if the "optics" don;t bother you, there's something wrong with you.
Eine grandiose Inszenierung, weit besser als die Aufführung zur Eröffnung der Mailänder Scala vor einigen Wochen. Selten gibt es eine solche Übereinstimmung von singen und spielen wie hier. Üblicherweise ist ja der Tod des Boris "grandios überhöht" dargestellt, auch die Musik trumpft auf. Hier aber ist er viel mehr der private Boris. Grandios auch Fjodor, gespielt wie gesungen von einem Jungen, normalerweise nimmt man einen Sopran; das hier war viel besser. Den Polenakt vermisst man überhaupt nicht. Auch stelle ich fest, dass die Karajan-Aufnahme, in der Rimsky-Korsakow-Fassung, doch eine gewisse Verfälschung ist, ein "aufgeblasener" Boris sozusagen. Die Elemente von modernem Regietheater (Laptop, Whisky Jack Daniels, Kameras und moderne Anzüge) haben mich diesmal kaum gestört, so überzeugend war das ganze.
absolut
Magnifiques voix. Merci pour les sous-titres français
io lo trovo bellissimo anche non conoscendo la lingua russa. Una vera scoperta ! e mi piace anche molto la realizzazione. Peccato sia fuori sync. La musica è stupenda.
Brilliant production, heartrending music as ever
Scene 1 (Novodevichy Scene) 1:58
Pristav: Nishkni! 9:08 Shchelkalov:Pravoslavnye! 9:48
Khor Kalik Perekhozhikh: Slava tebe (12:00) 12:15 (15:15) (15:35) 15:54
Scene 2 (Coronation Scene) (18:35)
Knjaz' Shujskij: Da zdravstvuet car' Boris Fjodorovich! 20:30
Boris: Skorbit dusha! 23:20 Narod: Slava! 25:55
Scene 3 (Cell Scene) (27:50)
Monastary Pimen (Priostanavlivajetsja): Jeshchjo 28:20
Scene 4 (Inn Scene) 48:50 Varlaam's song 54:26 Varlaam reads letter 1:07:08
Scene 5 (Kremlin Scene) (1:09:12)
Boris enters 1:13:00 Boris soliloquy 1:16:28 Shuisky enters 1:22:45 Shuisky exits 1:32:55
Scene 6 (St. Basil's Scene) 1:36:30 1:46:35
Scene 7 (Death Scene) 1:49:35
Boyars 1:52:50 Shuisky enters 1:55:20 Boris enters 1:58:20
Pimen enters (2:00:57) (2:01:33) 2:01:55 "One day" 2:02:45
the undoing of Boris 2:04:28 2:05:18 Boris collapses 2:05:55
2:10:25 2:12:30 chorus enters 2:13:15 XXX 2:15:05
end of opera 2:17:12
A personal favorite: 2:09:00
Fantastic! The blond tsarevich takes over from Boris...just like real life.
Même si je trouve que les transpositions de Boris Godounov a l’époque contemporaine sont le plus souvent absurdes, je dois avouer que cette transposition dans la Russie d’un autre Boris, dans les années 1990, est plutôt réussie.
I love this music
I know that at 3:41+ they are gathering to call on Boris to accept the Crown of the Tsar, but the way they are dressed, it looks like it is Tsar Putin they are going to call on!
Во время просмотра и прослушивания появилась мысль: а почему бы не поставить "Рогнеду" аналогичным образом? Это было бы очень актуально)
Why do I get the feeling that Mussorgsky, no fan of stuffy tradition, would've been delighted by this?
До мурашек
I'm not a particular fan of the modern production, but I'm not as horrified by it as some. Don't forget that Boris in Russia is as common as Carmen or Boheme is in the West. Operagoers have seen it many times, so directors feel they need to come up with a different take. Not to my taste, but I can live with it.
They even did a modern production recently of Rossini's Guillaume Tell, a relatively seldom performed work (despite the Overture). So really no impetus for a "fresh approach" (unlike Carmen or Traviata) in that case.
великолепное прочтение в образах и декорациях, невероятно
Favolosa
Я не очень люблю "современные" постановки - когда идёшь в оперу, хочется выпасть из действительности в другое время, в другую эпоху. Но в этой постановке оказалось очень интересно разглядывать мелочи, их тут так много) поскольку в Мариинке мне доступны только самые дешёвые билеты, эти мелочи далеко не все видны, и смотрю эту запись и радуюсь, видя ещё какую-нибудь "фишку") особенно хорошо зная 90-е, много можно увидеть) "не для всех" постановочка, фильм "Сны" напоминает местами даже)
Вообще, эту, 1869г., версию "Бориса" люблю больше, но постановка неоднозначная, конечно)
Я не понимаю, зачем поганить классику. И жаль что в этом участвовал великий Гергиев. Интересно, кто режиссёр данной постановки. Есть ли информация в нете?
I can understand updating the staging, but I can't really understand what's going on with people seemingly at a train station with luggage.... It does not help that subtitles are in French, but I have a rough idea of the libretto so the visuals don't seem to make sense from what I know of the story, especially the "coronation scene" 😂
Pity for you , because you'd see the acting and the words are very congruents. (And very actual : Putin has shown us how he got the power , criminally) The History repeats, las...
Вы не поймёте. Вы не жили в России в 90-е годы. Вы не видели и не понимали Бориса Ельцина и первый парламент РФ. Эту постановку могут понять только жители РФ, видевшие 80-90 годы своими глазами.
@@robertlambeaux897а при чем тут Путин?? Это не про него. В России было 2 Бориса у власти: один - царь Борис Годунов(о котором эта опера), другой - президент Борис Ельцин. Оба они пришли к власти сомнительным образом, в очень сложные времена; оба не смогли удержать Россию от кризиса, хотя делали для этого всё, что могли. Именно с годами правления президента Ельцина(1991-1999гг) и проведена параллель в данной постановке. Именно эта версия оперы выбрана не случайно: текст и сюжет данной версии более напоминает времена Ельцина. Но тем, кто тут тогда не жил, этого не понять.
Моя любимая ,обожаемая опера именно версия 1869 и в этом составе
Я тоже люблю его .
Аналогично
I see a lot of people in the comments section bemoaning the fact that the modernized/avant garde staging for this production has ruined the entire experience and that "Boris" should always look like "Boris". It's not legitimate art without the stone arches of the royal terem, the snowy backdrop of the Novodevichiy Monastery, the brooding grandeur of the Cathedral of Vasiliy the Bessed, and, most importantly, long, bristling beards on every man, woman, and child. I'm not a big fan of the "continental" designers and productions myself. If I dip into my rainy day funds for tickets to, say, "Gotterdammerung", I most certainly did not splurge on über-expensive seats just to get a nice, big close-up view of the flabby backside of Gunther, his bodacious posterior’s gelatinous rolls barely contained by a most distressed pair of threadbare hotpants - consequently, setting the perfect atmosphere for plenty of creepy, cringey, and incestuous rolls in the hay alongside his voluptuous, nighty-wearing sister, Gurtune! ......Sorry, got on a bit of a tangent there. Yeah, regarding this production....meh. I think as far as modern updates go, it's probably one of the better ones. Эх, время покажет.
Opera non fatta per animali ma per umani.
The staging is a major critique of Russian nationalism and the role of the Orthodox Church. Great. If this were the 1872 version, with the "Polish act", it would include EU and NATO flags?
Кому такая нездоровая идея могла прийти в голову?
much better than the Rimsky abomination
Rimsky was one of the best orchestrators of all time BUT his version of Boris was just too pretty-fied! He wasted somewhere near two years of his life working on it too.
Ce que ces mises en scène ineptes peuvent être fatigantes... Vivent les versions de concert !
C'est vrai , il ne faudrait pas réfléchir, juste rêvasser en écoutant la "belle" musique. Hé bien non, quittez votre zone de confort et ainsi l'opéra restera "moderne" et non une poussiéreuse pièce de musée.
Уж как прогнулся Валерий Абисалович перед Западом с его ценностями, а санкций так и не миновал.
(переслушивая в очередной раз)
Интересно. Столько комментариев от иностранцев... но они ведь не понимают и никогда не поймут этой постановки. Её поймут только те, кто был тогда - тут, в России. Кто видел абсурд 90-х своими глазами и способен мыслить абстрактно...
What's with the modern production? Why do they always have to get "creative"?
They're trying to make this opera "relevant" to today's jaded, ahistorical, short attention-spanned younger generation. I say, the greatness of Moussorgsky's music combined with its penetrating psychological portrait of human folly makes it timeless without all the pretentious window dressing! Someone seems to have forgotten the point of the exercise: that we're here to listen to great music and view great performances, not to be distracted by grandstanding from the costume and set department. But, gee, I must be an anachronism and a reactionary for preferring my "Boris" the old way.
Crazy version! 🤣
Could someone explain to me in a polite way what is so horrible about modern productions?
They are horrible modern things and they are enjoyable ones. This one belongs to the latest. It is great.
Many (I should say most) modern productions detract from the music. An historical drama such as this, is one such production. It is like painting a moustache on the Mona Lisa.
In and of themselves, nothing (save for orthodox traditionalists who refuse to accept any deviation from the traditional setting). Too often, however, these productions not only detract from the music, they are completely at odds with what the opera is about. This is opera, not theater, and the music ultimately is the most critical element. Too many directors (particularly in Europe) devise the most bizarre productions, thinking their creations are more important than the music. Such productions are appropriately derided as "Eurotrash." This production, though set hundreds of years ahead of the historical events of the opera, respects the story line.
Pity for you , because you'd see the acting and the words are very congruents. (And very actual : Putin has shown us how he got the power , criminally) The History repeats, las...
это позор и надругательство над классикой
Согласен!
Тут стремление к "сенсационному прочтению" и эпатажу вылилось в низкопробное и грязное фиглярство. Постановщик "нагрузил" наш русский и всемирный шедевр такой невообразимой гадостью и пошлостью, что просто диву даёшься. Где - то в подвальном молодёжном экспериментальном театрике в Лондоне или Берлине это ещё можно представить, но не на главной же сцене Российской Империи.
Gergiev has discovered modern staging and without any criticism goes headlong into the stupidities of the occidental operas in France, Belgium, Germany, and the USA! in War and Piece there was a cadillac or Russian equivalent on stage, for the Pique Dame, the countess was represented as a beautiful ghost coming in at the beginning of the opera while the main character was saying that she looked like an old sorcerer! One gets the impression that these guys have not read the librettos and the dialog attached to each aria!
1:09:21 2 действие Плач Ксении
Почему ???
Браво! Но опасно, особенно сегодня когда идет война и дедок в бункере беснуется
мечты либерашек о покаянии поганой власти и поганого народа будоражат твои влажные онанисткие фантазии? опера не об этом, ничего опасного в ней нет, Пушкин и Мусоргский были патриотами и поддерживали бы Россию сегодня
A great performance of an astonishing opera, but a ridiculous production that has nothing to do with the intentions of the librettist or composer.
So , you know so good Moussorgsky that you can say us what were his intentions?
Boris Godunov is one of my favorite operas, but in spite of the good singers, orchestra and sound, this production with dresses and things of today is HORRIBLE!
Methinks this trend of doing historic operas in contemporary settings is an expense saving measure for some of these opera companies. After all, they don't have to make costumes, just come wearing your street clothes. To my mind, this radical updating seldom works.
Boris is not made to make you dream, but to make think about ...
Totally unwatchable ! Can we not think when we dream? Or Can we not dream when we think? No, it’s nightmare this production
As I understood, it is a satire on the 2011 protests in Russia and Putin's return. I think it was fresh and bold that time.
Regarding costumes, Russians in 2011 had a peculiar taste for clothes.😂
I consider an opera about a historical czar from the 1600s to be ridiculous with modern costumes and scenery.
I appreciate and understand your sentiment, but I really enjoy the casting of the 17C story into the early 2000s.
There is a certain piquancy and resonance about the timeless story being presented in both times.
(And BTW, is it not surprising how many challengers to the power structure in Russia end up with severe health problems?)
Maybe there is room in our cultural space for both?
It's superfluous because great artwork is always timeless and dealing with eternal topics that belong to human nature itself - so if you modernize a great opera it's just for people who don't know or don't care about art
Often what it really boils down to is budget. It is a lot cheaper to go to a thrift store for your costumes than to have elaborate, jeweled costumes. Go cheap, look cheap.
2:04
Я мог бы закрыть глаза на то, что вы привнесли в класссичечкую оперу современный подтекст, с какой-то стороны это даже интересно, но во что вы превратили Юродивого? Из трогательного лирического персогажа, от пения которого хочется плакать, персонажа, в образе которого была показана вся тягость России, вы сделали какого-то педиковатого наркомана, к которому вообще никакой симпатии нет. Это мерзкий поступок.
Смотреть не возможно. Постановка мерзкая. Можно только слушать. Исполнение отличное.
ну ну
Just close your eyes and listen. The costumes and staging are not worth seeing.
Horrible this preformance with contemporary dresses! I don't know how the public bears this fudge.
Horrible esta representación con trajes de hoy. No entiendo cómo el público soporta este bodrio.
Actually, I totally share your generally view on this "modernism" - but exactly that "bar scene" made me reconsider my opinion on this! It is a darn well done scene that exactly portraits the emotions and the drama that I believe Mussorgsky tried to describe in the music!
You have to take into account that the American dumbed-down audience does not know or care enough about history to extract the general human conclusions from works that relate that closely to history. They need it contemporary, in order to understand it. Otherwise, they just reject it. Cognitive Dissonance at work...!
But it does disappoint me that even Russian "authorities" think that Russians have descended to the same low level of historical appreciation - I would like to believe otherwise.
So sad to see a Boris like this... SO BAD VERSION... This opera is really magic and wonderful. If you want to see a good version go to see Sir Bryn Terfel, u can find it in youtube just put Terfel Boris godunov and it is the complete oepra.
Это очень плохо.
Жуть!
Love the music, hate this garbage production. It is a HISTORICAL drama, a piece of NON-FICTION (with some alterations). There are very specific real-life figures and places which existed/exist, and there is no room for stupid "creative" liberties. This is an opera about a very historical Russia, not the Russia of today. This is not like an opera with a fairly ambiguous fairytale setting like the Magic Flute or something. If you want opera and music to be accessible and not esoteric, you gotta get rid of these wacko directors/producers.
Historical doesn't mean museographical, but speaking us TODAY as a lesson.
^ I have no idea what you’re talking about. I, for one, don’t want to see an irrelevant non-relatable production and I don’t think anyone else does either.
I hate the production. The sets (if you can call them that) are ridiculous as are the costumes. I think it bears no resemblance to Mussorgski's original intention which is to present an historical pageant not "modernized" by a director who lacks the sensitivity to see beyond his own narrow vision. But opera now is not a singer's profession but the realm of the DIRECTOR. Nor do I think much of the Boris Nitikin. He is bland in the extreme and sings without any real expression (but with a body covered in tattoos, you can hardly expect a genuine artist, which he certainly is not, regardless of the questionable value of his basso or reputation as an opera singer). He hasn't the slightest idea of what he is singing about. He needs to watch Robert Lloyd's magnificent Boris. The only value of this recording is that it preserves the initial version of the Kremlin scene, almost never preformed (although Mussorgski's own revised version of this act is superior in almost every way).
Очень слабый исполнитель Бориса! Хилая копия с Е. Е. Нестеренко! "Гришка" копирует Г. М. Нэлеппа!... Зачем? Нет, это не Голованов, это , того, это значительно йо-го-го!..
Все голоса, особенно басы,
"Соболя Сибирские"(без шуток),
да жаль, что и молью нещадно побиты, и из за плохого обращения, основательно потёрты! При настрящем муз - худ. управлении это не возможно! Невозможно горько всё это!... Но с другой стороны -
"калоша не плaву", может и "дотянем до земли", и за одно это - Земной Поклон!
А мне понравиося Е. Никитин
Не слышали вы Евгения в Мариинке. Слабый?! - ну-ну... Слабый Вагнера и Мусоргского не споёт...и не сыграет. Как столько лет уже в Мариинке.
Прямо задело.
Не слышали вы Евгения в Мариинке. Слабый?! - ну-ну... Слабый Вагнера и Мусоргского не споёт...и не сыграет.
@@Voskresena Меня тоже задевает чудовищная деградация того, что раньше называлось «Оперой». Даже хуже того , это уже не деградация, а полный духовный и нравственный распад... , думаю, что уже необратимый.
@@dmitrikostov4803 так говорили и про живопись во времена импрессионистов...
Так говорят всегда и во все времена про многое в искусстве. Однако искусство не мертво, оно живет и меняется, экспериментирует и юродствует. Застаивается и возрождается. Уходит то в одну, то в другую сторону. И продолжает жить. Это касается любой формы искусства. Художника может обидеть всякий, но не всякий способен создать что-то своё.
2:05