Modest Mussorgsky - BORIS GODUNOV - Coronation Scene (Boris Christoff)
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- Опубликовано: 9 фев 2025
- Борис Годунов (BORIS GODUNOV)
Musical drama in a prologue and 4 acts
Composer: Modest Mussorgsky (1839-81)
Libretto: Modest Mussorgsky, after Aleksandr Pushkin’s drama (1831) and Nikolay M. Karamzin’s History of the Russian State (1816-26)
First performance: Mariinsky Theatre, St Petersburg, 22 October 1873 (Revised Version of 1872).
Revised version: St Petersburg Conservatory, 28 November 1896 (Rimsky-Korsakoff version).
First performance of Original Version of 1869: State Academic Theatre of Opera and Ballet, Leningrad, 16 February 1928
SETTING: Moscow; the Lithuanian frontier; a castle in Sandomierz, Poland; Kromï, from 1598 to 1605.
‘Boris Godunov’, one of the masterpieces of Russian opera, is a sombre, magnificent work. The story spans some seven years, from the accession of Boris Godunov to the throne in 1598 to his death in 1605. The work is Shakespearean in its structure: a chronicle play, with an allegorical view of history; and characterisation: Boris, one of the greatest roles in all opera, is both guilt-stricken child-murdering regicide and loving father. He is supposed to have had the nine-year-old Dmitriy, the last son of Ivan the Terrible, murdered to become Tsar (and may in real life have poisoned Ivan with mercury), and is haunted by the vision of the murdered boy; while retribution also comes from outside, in the form of the False Dmitriy, an ambitious renegade monk who claims the throne.
There are various versions of the work; that used here is the Rimsky-Korsakoff reorchestration of 1896.
The Coronation Scene (Prologue, Scene 2)
Moscow, 1598. As the bells peal out, Boris appears to the crowd assembled outside the Kremlin. Although the people themselves are enthusiastic, Boris is inwardly anxious; in the aria ‘Skorbit dusha!‘ (‘My soul is sorrowful‘), he expresses his forebodings, and prays for God's blessing and that he will rule justly.
Boris Godunov (bass): Boris Christoff
Chorus of the National Orchestra of Sofia
Conductor: André Cluytens
Orchestre de la Société du Conservatoire de Paris
Paris, 1962
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This is the recording that first introduced me to this wonderful opera, when I was a child!
Though he was difficult to work with, Boris Christoff is considered one of the great bass opera singers of the Twentieth Century. It's a shame that there are only 652 views for this great artist.
+Zoltan Korda Thanks! Godunov is awesome - in the real sense of inspiring awe: that cavernous voice. And in this Boris, he's everywhere - Boris, Pimen and Varlaam.
All the really great Artists are normaly easy to cooperate with. It's only the halfgood ambitious ones who make troubles.
Meyerbeer Smith, MANY THANKS !
What an eargasm
Isn't it! The bells, the bells, and the massive Russian choir! Have you heard the Forest of Kromy scene?
Thank you for this unique recording! I love André Cluitens, an incomparable conductor! And Boris Christoff is a great Godunov.
The opening orchestral passages remind me of a great clock of forboding tolling away inexorably. The cacophany of bells and the huge choir. Brilliant, atmospheric, and powerful music by Mussorgsky orchestrated by Rimsky-Korsakov.
Great rendition of the scene indeed. Was also impressed by the Bulgarian chorus. Can you upload the complete version?
Молодцы!
always my favorite of this opera with the royal Boris Christoff!
One false pretender to the Russian throne got killed and had his remains blown out of a cannon back to Poland, but not before disliking this vid.
The start of this piece has a similar rhythm to the ringing of bells in a Russian orthodox church.
8:24 TO 9:23 💫💫💫💫💫 DYNAMITE !
From the definitive performance of this opera. Yes, Rimsky worked it over, but the changes were all improvements; like Chopin, Mussorgsky's orchestration was limited by his tendency to think in terms of his preferred instrument, the piano.
Mahler liked this so much that he stole the opening chord of the coronation scene for the first chord in the fourth movement of his sixth symphony.
Do we know definitively whether Mahler _was_ influenced by Boris Godunov in his own music? I ask because I'm convinced he was, but I haven't found any reliable information explicitly drawing connections between Mahler's symphonies and Boris Godunov.