Boris Godunov (Libretto) (Russian Edition) [Modest Petrovich Mussorgsky] on *FREE* shipping on qualifying offers. Boris Godunov is an opera by. Prologue Scene 1. A crowd throngs by the high walls of the Novodevichy Monastery in Moscow. The boyar, Boris Godunov, haswithdrawn to the monastery after. Boris Godunov (Libretto) by Modest Petrovich Mussorgsky, , available at Book Depository with free delivery worldwide.
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The work was composed between and in Saint PetersburgRussia. It is Mussorgsky’s only completed opera and is considered his masterpiece.
Among major operas, Boris Godunov shares with Giuseppe Verdi ‘s Don Carlos the distinction of having an extremely complex creative history, as well as a great wealth of alternative material. Boris Godunov has seldom been performed in either of the two forms left by the composer,  frequently being subjected to cuts, recomposition, re-orchestration, transposition of scenes, or conflation of the original and revised versions. Several borjs, chief among them Nikolay Rimsky-Korsakov and Dmitri Shostakovichhave created new editions of the opera to “correct” perceived technical weaknesses in the composer’s original scores.
Although these versions held the stage for decades, Mussorgsky’s individual harmonic style and orchestration are now valued for their originality, and revisions by other hands have fallen out of fashion. Boris Godunov comes closer to the status of a repertory piece than any other Booris operaeven Tchaikovsky ‘s Eugene Onegin and is the most recorded Russian opera.
Dates provided in this article for events taking place in Russia before are Old Style. In the autumn ofVladimir Nikolsky, a professor of Russian history and languageand an authority on Pushkin, suggested to Mussorgsky the idea of composing an opera on the subject of Pushkin’s “dramatic chronicle” Boris Godunov.
Boris Godunov (Libretto) : Modest Petrovich Mussorgsky :
Production was permitted on condition that certain scenes were cut. When Lyudmila Shestakovathe sister of Mikhail Glinkalearned of Mussorgsky’s plans, she presented him with a volume of Pushkin’s dramatic works, interleaved with blank pages and bound, and using this, Mussorgsky began work in October preparing his own libretto.
Mussorgsky adapted the most theatrically effective scenes, mainly those featuring the title character, along with a few other key scenes Novodevichy, Cell, Innoften preserving Pushkin’s verses. Mussorgsky worked rapidly, composing first the vocal score in about nine months finished 18 Julyand completed the full score five months later 15 Decemberat the same time working as a civil servant.
How can there be an opera without the feminine element?! Mussorgsky has great talent beyond doubt. Let him add one more scene. Then Boris will be produced!
Other questionable accounts, such as Rimsky-Korsakov’s, allege that there were additional reasons for rejection, such as the work’s novelty: The freshness and originality of the music nonplussed the honorable members of the committee, who reproved the composer, among other things, for the absence of a reasonably important female role.
For a long time he stood up as every genuine artist is wont to do for his creation, the fruit of his inspiration and meditations. He yielded only after Boris had been rejected, the management finding that it contained too many choruses and ensembles, whereas individual characters had too little to do. This rejection proved very beneficial to Boris. Meanwhile, Pushkin’s drama 18 of the published 24 scenes, condensed into 16 finally received its first performance in at the Mariinsky Theatrethree years in advance of the premiere of the opera in the same venue, using the same scene designs by Matvey Shishkov that would be recycled in the opera.
InMussorgsky began recasting and expanding the opera with enthusiasm, ultimately going beyond the requirements of the directorate of the Imperial Theatres, which called simply for the addition of a female role and a scene to contain it. The modifications resulted in the addition of an important prima donna role Marina Mniszechthe expansion of existing female roles additional songs for the Hostess, Fyodor, and the Nurseand the expansion of the first tenor role the Pretender.
Mussorgsky augmented his adaptation of Pushkin’s drama with his own lyrics, assisted by a study of the monumental History of the Russian State by Karamzin, to whom Pushkin’s drama is dedicated.
The Revised Version was finished in vocal score, 14 December ; full score 23 June and gofunov to the Imperial Theatres in the autumn. Most Mussorgsky biographers claim that the directorate of the Imperial Theatres also rejected the revised version of Boris Godunoveven providing a date: In any case, Mussorgsky’s friends took matters into their own hands, arranging the performance of three scenes the Inn and both Sandomierz scenes at the Mariinsky Theatre on 5 Februaryas a benefit for stage manager Gennadiy Kondratyev.
The success of this performance led V. The triumphant performance of three scenes paved the way for the first performance of the opera, which was accepted for production on 22 October The Mariinsky Theatre was sold out; Mussorgsky had to take lirbetto 20 curtain calls; 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]. Initial performances of Boris Godunov featured significant cuts.
Some two years later, the Lord knows why, productions of the opera ceased altogether, although it had enjoyed uninterrupted success, and the performances under Petrov and, after his death, by F.
StravinskyPlatonova, and Komissarzhevsky had been excellent. There were rumors afloat that the opera had displeased the Imperial family; there was gossip that its subject was unpleasant to the censors; the result was that the opera was stricken from the repertory. Boris Godunov was performed 21 times during the composer’s lifetime, and 5 times after his death in before being withdrawn from the repertory on 8 November When Mussorgsky’s subsequent opera Khovanshchina was rejected for production inthe Imperial Opera Committee reputedly said: The reports of booris antipathy of the Imperial family to Mussorgsky’s opera are supported by the following accounts by Platonova and Stasov:.
There was no end to applause goduov curtain calls. This section lists performance data for the Saint Petersburg and Moscow premieres of each important version, the first performance of each version abroad, and premieres in English-speaking countries. Dates provided for events borjs place in Russia before are Old Ilbretto. The Cell Scene was omitted. The Novodevichiy and Coronation scenes were combined into one continuous scene: Matvey Shishkov’s design for the last scene of Pushkin’s drama, ‘The House of Boris’ see illustration, rightwas substituted for this hybrid of the Novodevichiy and Coronation scenes.
The production ran for 26 performances over 9 years. The premiere established traditions that have influenced subsequent Russian productions and many abroad as well: Production personnel included Anton Bartsal stage directorand Karl Valts scene designer.
The production ran for 10 performances. The production ran for 4 performances.
The Rimsky-Korsakov edition of was performed. Production personnel included Savva Mamontov producerand Mikhail Lentovsky stage director. The production ran for 14 performances.
Boris Godunov (Libretto)
The opera was presented libbretto three acts. However, the Inn Scene, which was omitted in Paris, was included. Scenery and costume designs were the same as used in Paris in —made in Russia by Golovin, Benuaand Bilibinand shipped from Paris. The opera was sung in Italian. Production personnel included Sergey Godunob producer and Aleksandr Sanin stage director. The newly published St. Basil’s Scene was performed on 18 January at the Bolshoy Theatre in the revision by Mikhail Ippolitov-Ivanovcommissioned in to accompany the Rimsky-Korsakov edition.
Production personnel included Vladimir Lossky stage director and Fyodor Fedorovsky scene designer. Production personnel included Sergey Radlov stage directorand Vladimir Dmitriyev scene designer. The first performance of the Original Version abroad took place on 30 September at the Sadler’s Wells Theatre.
The opera was sung in English. The cast included Ronald Stear Boris. The premiere of the Shostakovich orchestration of of Pavel Lamm ‘s vocal score took place on 4 November at the Kirov Theatre.
The cast included Boris Shtokolov Boris. Musicologists are often godunovv in agreement on the terms used to refer to the two authorial versions of Boris Godunov. Editors Pavel Lamm and Boris Asafyev used “preliminary redaction” and “principal redaction” for the 1st and 2nd versions, respectively,  and David Lloyd-Jones goduhov them “initial” and “definitive. The differences in approach between the two authorial versions are sufficient as to constitute two distinct ideological conceptions, not two variations of a single plan.
The Original Version of is rarely heard. It is distinguished by its greater fidelity to Pushkin’s drama and its almost entirely male cast of soloists. The terse Terem Scene of the version and the unrelieved tension of the two subsequent and final scenes make this version more dramatically effective to some critics e. The Revised Version of represents a retreat from the ideals borris Kuchkist realism, which had come to be associated with comedy, toward a more exalted, tragic tone, and a conventionally operatic style—a trend that would be continued in the composer’s next opera, Khovanshchina.
The unique features of this version include:. Mussorgsky rewrote the Terem Scene for the version, modifying the text, adding new songs and plot devices the parrot and the clockmodifying the psychology of the title character, and virtually recomposing the music of the entire scene.
The Piano Vocal Score of was the first published form of the opera, and is essentially the version with some minor musical variants voris small cuts. The vocal score does not constitute a ‘third version’, but rather a refinement of the Revised Version.
Upon revising the opera, Mussorgsky librettto replaced the St. This gives the overall structure of the Revised Version the following symmetrical form: The Rimsky-Korsakov Version of has been the most traditional version over the last century, but has recently been almost entirely eclipsed by Mussorgsky’s Revised Version It resembles the Vocal Score ofbut the order of the boriis two scenes is reversed goddunov Versions by Other Hands in this article for more details].
Roles designated with an asterisk do not appear in the Original Version. However, ‘ Holy Fool ‘ is a more accurate English equivalent.
Musorgsky: Boris Godunov (Russian)
An understanding of the drama of Boris Godunov may libreto facilitated by a basic knowledge of the historical events surrounding the Time of Troublesthe interregnum of relative anarchy following the end of the Ryurik Dynasty and preceding the Romanov Dynasty Key events are liibretto follows:.
The culpability of Boris in the matter of Dmitriy’s death can neither be proved nor disproved. Karamzin accepted his responsibility as fact, and Pushkin and Mussorgsky after him assumed his guilt to be true, at least for the purpose of creating a tragedy in the mold of Shakespeare.
Modern historians, however, tend to acquit Booris. Shishkov and Bocharev designed the sets samples belowsome of which were used in the first librettk performance in The Courtyard of the Novodevichiy Monastery near Moscow There is a brief introduction foreshadowing the ‘Dmitriy Motif’. 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 “To whom dost thou abandon bodunov, our father? 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.