Mussorgsky Boris Godunov

Florida Grand Opera 

March 16th, Miami Dade County Auditorium

The Opera

    Boris Godunov had a bumpy road until it was presented as the composer originally intended. The first productions to make it to the West were based on Rimsky-Korsakov re-orchestration of the score who produces a lush orchestral tapestry which is not definitely Mussorgsky. Only in the 1950's Mussorgsky's original score started to become accepted and nowadays it is the norm. But the caveat is that there are two original scores, one from 1869 which was refused by the Committee who decided which opera was going to be presented in Russia at the time, and another from 1872 which was also refused but later accepted. FGO decided to present the 1869 version but with two scenes from the 1872 version, the scene in the Tsar apartment (Act II), which is longer in the 1872 version and the scene in the Kromy Forest (Act III-Scene 3) which does not even exist in the 1869 version. I prefer the original 1869 and do not consider the Kromy Forest a great addition. The 1872 version has a whole new act and the music is marvelous but it does make the opera quite long and it does require a great mezzo-soprano, so I think that's why the FGO opted for the 1869.

The Production

    The production by Lofti Mansouri was very good, the chorus so important in this opera really acted well and the singers direction was perfect. The lightning by Todd Hensley very well done (specially in the Cell Scene and Clock Scene). The sets by Robert Dahlstrom were weak for Act 1-Scene1 and Act 3-Scene1 (the same set) and were good for Act 1-Scenes 2 and 3, Act 2 and Act 3-Scenes 2 and 4. The Coronation Scene had a large bizanthyne panel that was later used in subsequent scenes and had interesting lightning effects.

The Cast

James Morris was very good as Boris Godunov. The role suits him very well at this stage of his career because it is quite low and requires more stamina than beautiful vocal line and the big vibrato that Morris has nowadays can be an asset when singing in Russian. He interpreted the role well and sang with his customary care, with attention to the line, beautiful pianissimos (he sang the Coronation Scene first piano and let the forte go only when addressing the people) and powerful fortes when required. The Clock Scene (Act II) was wonderful, his admonition to Shuisky very frightening. His death scene was moving with a powerful high note when stating "I'm still Tsar" where many singers tend to shout.

Kevin Langan was excellent as Pimen. His voice sounded big and even through the hall, his low notes a treat to cherish. He also interpreted the role very well, very effective in Act III when facing Boris. In the intermission the FGO general manager came to the stage with him and presented a gift to Kevin celebrating his 1000th performance. If he keeps singing like this, we may as well celebrate the 2000th!

Jeffrey Springer was a good Grigori. In this version, the 1869, he has less to sing but he sang it well. I saw he has sing many Manricos and it would be interesting to hear him in this role.

Mikhail Svetlov was excellent as Varlaam. His voice is a true Russian bass voice, deep and powerful. He characterized the role to perfection and was excellent in his aria (in Act I-Scene 3) about the Kazan battle.

Allan Glassman was very good as Shuisky. I'm glad the FGO called him because this role really requires a good actor and singer and Glassman was both. Plus his voice is supple which makes much more credible the fact that Shuisky is not a simple villain but a contender to the throne.

Pierre Lefebvre was an excellent Simpleton. I'm also glad the FGO called him because this is another role that calls for a major singer. His role is key to the last act and he delivered.

Audrey Babcock was a good Fyodor. She acted well and sang beautifully in her small aria in Act II.

Sarah Miller was good as Xenia. The role is small but the little she had she sang well.

All the other singers did well in the smaller roles, although Thomas Barrett as Schelkhalov could have sung piano in the Act 1-Scene 1 when asking the people to pray for God and the Tsar.

Stewart Robertson did a wonderful job in a difficult score and we were lucky the Florida Philharmonic was in the pit. The playing was very good. The Chorus did also well this time although some voices had a large vibrato but it does bring more volume and the choral scenes in Boris are very important.