Have always loved going to the Metropolitan Opera HD Live productions, some are better than others (as there are some misfires, such as 2009's 'Tosca' and 'Hansel and Gretel') but there have also been some real masterpieces. Have been a fan of 'Boris Godunov' ever since seeing Boris Christoff's towering performance of the final scene in a documentary and it is one of the all time great Russian operas ('Eugene Onegin' is a favourite as well). While being raised on the Rimsky-Korsakov version, there is a lot to like about Mussorgsky's original version that is adopted here.
It will be a shock perhaps to anybody who has never heard Mussorgsky's version and who was raised on Rimsky-Korsakov's (who admired Mussorgsky's orchestration, while thinking negatively of him as a musician), as it is a little coarser and not as rich orchestrally. This revival of the previous Met production of the opera from over a decade ago is very solid, if more musically than visually, and has much to admire. This 'Boris Godunov' isn't perfect, but not deserving of the as of now low rating.
Am going to begin with mentioning what wasn't so good for me. Without the Polish act, despite the drama being tighter and more focused on the titular character, the drama did at times feel a little rushed and it made the character of Grigory (the main character of that act) feel very underwritten and almost unnecessary. As a result the scene in the Inn felt like filler.
Was a bit mixed on the production visually, with it tending to find it on the too sparse side and not quite understanding why the production decided to go for a blue backdrop for Grigory and gold for Boris (class difference or something perhaps?). Didn't see why the omnipresent history book was still present, when practically nothing is done with it.
Despite all of that, there is a huge amount to like about this 'Boris Godunov'. The costumes are beautiful to look at with a lot of vibrant colour and very rich attention to detail. The lighting is very atmospheric and the videography intimate while with enough expansion to avoid staginess. The staging is always tremendously absorbing, with the high point easily being Boris' final scene (which has always been my favourite scene in all versions). It does very well at making the drama coherent, even with the lack of the Polish Act, and at making Boris a fascinating character and more tortured, more desperate, more raw character while still maintaining his regality.
Musically, the production is outstanding. The orchestra are astonishingly well rehearsed and play like angels, the lower strings especially shining. The chorus do astonishing work too, not just vocally but also dramatically, expertly taking on various different personas throughout the opera. Sebastian Wiegle's conducting is effortlessly commanding but also sympathetic at all the right moments.
Rene Pape is a force to be reckoned with in the title role, he sounds wonderful throughout and makes Boris a very layered character. He moved me to tears in his final scene. Ain Anger is a noble, understated Pimen, shining particularly in smaller moments. Which are especially apparent in Scene 7. Maxim Pastor is a wonderfully serpentine Schiusky, the body language is so slithering snake like and it is chilling to watch. David Butt Phillip is a heroic Grigory and sings with plenty of richness and ring. Aleksey Bogdanov is a sympathetic Shchelkalov and Ryan Speedo Green absolutely relishes the role of Varlaam and handles the difficult fast rhythms of the drinking song with consummate ease.
Concluding, solid production with many excellent things. 7/10.
It will be a shock perhaps to anybody who has never heard Mussorgsky's version and who was raised on Rimsky-Korsakov's (who admired Mussorgsky's orchestration, while thinking negatively of him as a musician), as it is a little coarser and not as rich orchestrally. This revival of the previous Met production of the opera from over a decade ago is very solid, if more musically than visually, and has much to admire. This 'Boris Godunov' isn't perfect, but not deserving of the as of now low rating.
Am going to begin with mentioning what wasn't so good for me. Without the Polish act, despite the drama being tighter and more focused on the titular character, the drama did at times feel a little rushed and it made the character of Grigory (the main character of that act) feel very underwritten and almost unnecessary. As a result the scene in the Inn felt like filler.
Was a bit mixed on the production visually, with it tending to find it on the too sparse side and not quite understanding why the production decided to go for a blue backdrop for Grigory and gold for Boris (class difference or something perhaps?). Didn't see why the omnipresent history book was still present, when practically nothing is done with it.
Despite all of that, there is a huge amount to like about this 'Boris Godunov'. The costumes are beautiful to look at with a lot of vibrant colour and very rich attention to detail. The lighting is very atmospheric and the videography intimate while with enough expansion to avoid staginess. The staging is always tremendously absorbing, with the high point easily being Boris' final scene (which has always been my favourite scene in all versions). It does very well at making the drama coherent, even with the lack of the Polish Act, and at making Boris a fascinating character and more tortured, more desperate, more raw character while still maintaining his regality.
Musically, the production is outstanding. The orchestra are astonishingly well rehearsed and play like angels, the lower strings especially shining. The chorus do astonishing work too, not just vocally but also dramatically, expertly taking on various different personas throughout the opera. Sebastian Wiegle's conducting is effortlessly commanding but also sympathetic at all the right moments.
Rene Pape is a force to be reckoned with in the title role, he sounds wonderful throughout and makes Boris a very layered character. He moved me to tears in his final scene. Ain Anger is a noble, understated Pimen, shining particularly in smaller moments. Which are especially apparent in Scene 7. Maxim Pastor is a wonderfully serpentine Schiusky, the body language is so slithering snake like and it is chilling to watch. David Butt Phillip is a heroic Grigory and sings with plenty of richness and ring. Aleksey Bogdanov is a sympathetic Shchelkalov and Ryan Speedo Green absolutely relishes the role of Varlaam and handles the difficult fast rhythms of the drinking song with consummate ease.
Concluding, solid production with many excellent things. 7/10.
