Classical Ballet M.Mussorgsky "Boris Godunov" staged by Graham Vick World famous Mariinsky Ballet and Opera - established 1783
Schedule for M.Mussorgsky "Boris Godunov" staged by Graham Vick 2022
Composer: Modest Mussorgsky Director: Graham Vick
Orchestra: Mariinsky Theatre Symphony Orchestra
Boris Godunov is an opera by Modest Mussorgsky
(1839–1881). The work was composed between 1868 and 1873 in Saint Petersburg,
Russia. It is Mussorgsky's only completed opera and is considered his
masterpiece. Its subjects are the Russian ruler Boris Godunov, who reigned as
Tsar (1598 to 1605) during the Time of Troubles, and his nemesis, the False
Dmitriy (reigned 1605 to 1606). The Russian-language libretto was written by the
composer, and is based on the "dramatic chronicle" Boris Godunov by
Aleksandr Pushkin, and, in the Revised Version of 1872, on Nikolay Karamzin's
History of the Russian State.
Boris Godunov, among major operas, shares with Giuseppe Verdi's Don
Carlos (1867) the distinction of having the most complex creative history
and the greatest wealth of alternative material. The composer created two
versions—the Original Version of 1869, which was rejected for production by the
Imperial Theatres, and the Revised Version of 1872, which received its first
performance in 1874 in Saint Petersburg. These versions constitute two distinct
ideological conceptions, not two variations of a single plan.
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, conflation of the original and
revised versions, or translation into another language.
Several composers, chief among them Nikolai Rimsky-Korsakov and Dmitri
Shostakovich, have 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 Russian opera, even Pyotr Tchaikovsky's Eugene Onegin, and is the
most recorded Russian opera.
Synopsis
Note: Shishkov and Bocharev designed the sets (samples below), some of
which were used in the first complete performance in 1874.
Time: The years 1598 to 1605 Place: Moscow; the Lithuanian
frontier; a castle in Sandomierz; Kromп
Part 1 / Prologue
Shishkov's design for the Novodevichiy Monastery Scene
(1870)
Scene 1: The Courtyard of the Novodevichiy Monastery near Moscow
(1598)
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 us, 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. Andrey
Shchelkalov, the Secretary of the Duma, appears from inside the convent, informs
the people that Boris still refuses the throne of Russia ("Orthodox folk! The
boyar is implacable!"), and requests that they pray that he will relent. An
approaching procession of pilgrims sings a hymn ("Glory to Thee, Creator on
high"), 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.
Bocharov's design for the Cathedral Square Scene
(1874)
Scene 2: [Cathedral] Square in the Moscow Kremlin (1598).
The orchestral introduction is based on bell motifs. 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 ("Like the beautiful sun in
the sky, glory"), 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 delivers a brief monologue ("My soul grieves")
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 ("Glory! Glory!
Glory!"). A crowd breaks toward the cathedral. The police officers struggle to
maintain order. The people resume their shouts of "Glory!"
Part 2 / Act 1
Ivan Bilibin's design for the Cell Scene
(1900's)
Scene 1: Night. A Cell in the Chudov Monastery [within the Moscow Kremlin]
(1603)
Pimen, a venerable monk, writes a chronicle ("Yet one last tale") 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 regrets
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.
Upon discovering the similarity in age between himself and the murdered
Tsarevich, Grigoriy 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)
Scene 2: An Inn on the Lithuanian Border (1603)
There is a brief orchestral introduction based on three prominent themes from
this scene.
The vagrants Varlaam and Misail, who are dressed as monks and are begging for
alms, and their companion Grigoriy, who is in secular garb, arrive and enter.
After exchanging greetings, Varlaam requests some wine. When the Hostess returns
with a bottle, he drinks and launches into a ferocious song ("So it was in the
city of Kazan") 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 appearance and
behavior, the lead policeman thinks he has found his man. He cannot read the
ukaz (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 ukaz. 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.
Part 3 / Act 2
Shishkov's design for the Terem Scene
(1870)
The Interior of the Tsar's Terem in the Moscow Kremlin (1605)
Kseniya (or Xenia), clutching a portrait of "Prince Ivan", her betrothed who
has died, sings a brief mournful aria ("Where are you, my bridegroom?"). Fyodor
studies a great map of the Tsardom of Russia.
Kseniya's nurse assures her that she will soon forget about "Prince
Ivan".
Boris abruptly enters, briefly consoles Kseniya, and then sends her and her
nurse to their own quarters. Fyodor shows Boris the map of Russia. After
encouraging his son to resume his studies, Boris delivers a long and fine
soliloquy ("I have attained supreme power").
The boyar-in-attendance brings word of the arrival of Prince Shuysky, and
reports a denunciation against him for his intrigues.
Prince Shuysky now enters. Boris insults him, accusing him of conspiring with
Pushkin, an ancestor of the poet. However, the prince brings 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. He orders Shuysky to
seal the border with Lithuania, and, clearly on the edge of madness, asks
Shuysky whether he has ever heard of dead children rising from their graves to
question Tsars. Boris seeks assurance that the dead child the prince had seen in
Uglich was really Dmitriy. He threatens Shuysky, if he dissembles, with a
gruesome execution. The Prince describes the ghastly scene of Dmitriy's murder
in a brief and beautiful aria ("In Uglich, in the cathedral"). But he gives
hints that a miracle (incorruptibility) has occurred. Boris begins choking with
guilt and remorse, and gives a sign for Shuysky to depart.
Boris hallucinates (Hallucination or 'Clock' Scene). The spectre of
the dead Dmitriy reaches out to him. Addressing the apparition, he denies his
responsibility for the crime: "Begone, begone child! I am not thy murderer...
the will of the people!" He collapses, praying that God will have mercy on his
guilty soul.
Act 3 (The
'Polish' Act)
Shishkov's design for the scene in Marina's Boudoir
(1870)
Scene 1: The Boudoir of Marina Mniszech in Sandomierz [Poland]
(1604)
Maidens sing a delicate, sentimental song ("On the blue Vistula") 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 ("How tediously and sluggishly"), of Dmitriy, and of her
thirst for adventure, power, and glory. The Jesuit Rangoni enters, bemoans the
wretched state of the church, 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), and encourages her to bewitch the
Pretender. When Marina wonders why she should do this, Rangoni angrily insists
that she 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)
Scene 2: Mniszech's Castle in Sandomierz. A Garden. A Fountain. A Moonlit
Night (1604)
Woodwind 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. However, to his annoyance, Rangoni finds him. He brings news that Marina
longs for him and wishes 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 begs the Pretender to
consider him a father, allowing him to follow his every step and thought.
Despite his mistrust of Rangoni, the Pretender agrees not to part from him if he
will only let him see Marina. Rangoni convinces the Pretender to hide as the
Polish nobles emerge from the castle dancing a polonaise (Polonaise).
Marina flirts, dancing with 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, cursing Rangoni. He resolves to
abandon wooing Marina and begin his march on Moscow. But then 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 rejects his advances, and, attempting to spur
him to action, dismisses him, calling 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 reverses course, tells him she adores him, and they
sing a duet ("O Tsarevich, I implore you"). Rangoni observes the amorous couple
from afar, and, joining them in a brief trio, cynically rejoices in his
victory.
Part 4 / Act 4
At the Cathedral of Vasiliy the Blessed Bolshoy Theatre
(1927)
Scene 1 [1869 Version only]: The Square before St. Basil's Cathedral in
Moscow (1605)
A crowd mills about before the Cathedral of the Intercession (the Temple of
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 the
Tsarevich. With growing excitement they sing of the advance of his forces to
Kromп, of his intent to retake his father's throne, and of the defeat he will
deal to the Godunovs. A yurуdivпy enters, pursued by urchins. He sings a
nonsensical song ("The moon is flying, the kitten is crying"). The urchins greet
him and rap on his metal hat. The yurуdivпy has a kopek, which the urchins
promptly steal. He whines pathetically. Boris and his retinue exit the
Cathedral. The boyars distribute alms. In a powerful chorus ("Benefactor father
(Give us bread)"), the hungry people beg for bread. As the chorus subsides, the
yurуdivпy's cries are heard. Boris asks why he cries. The yurуdivпy 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 yurуdivпy seized, but Boris
instead asks for the holy man's prayers. As Boris exits, the yurodivпy declares
that the Mother of God will not allow him to pray for Tsar Herod (see Massacre
of the Innocents). The yurуdivпy then sings his lament ("Flow, flow, bitter
tears!") about the fate of Russia.
Shishkov's design for the Faceted Palace Scene
(1870)
Scene 2 [1869 Version] / Scene 1 [1872 version]: The Faceted Palace in
the Moscow Kremlin (1605)
A session of the Duma is in progress.
After some arguments, the boyars agree ("Well, let's put it to a vote,
boyars"), 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, a dishevelled Boris now 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 ("One day, at the evening hour") 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 ("Farewell, my son, I am
dying"), gives Fyodor final counsel, and prays for God's blessing on his
children. In a very dramatic scene ("The bell! The funeral bell!"), he dies.
Scene 2 [1872 Version only]: A Forest Glade near Kromy (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
("Not a falcon flying in the heavens"). The yurуdivпy enters, pursued by
urchins. He sings a nonsensical song ("The moon is flying, the kitten is
crying"). The urchins greet him and rap on his metal hat. The yurуdivпy 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
("The sun and moon have gone dark"). They enter. The crowd gets worked up to a
frenzy ("Our bold daring has broken free, gone on a rampage") denouncing Boris.
Two Jesuits are heard in the distance chanting in Latin ("Domine, Domine, salvum
fac"), praying that God will save Dmitriy. They enter. At the instigation of
Varlaam and Misail, 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 glorify him ("Glory to thee, Tsarevich!") 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
yurуdivпy, who sings a plaintive song ("Flow, flow, bitter tears!") of the
arrival of the enemy and of woe to Russia.
Schedule for M.Mussorgsky "Boris Godunov" staged by Graham Vick 2022
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