Mussorgsky: Boris Godunov - Abbado, Kotscherga,Langridge,Lipovsek,
ฝัง
- เผยแพร่เมื่อ 4 มี.ค. 2016
- Salzburg, 1998
Berliner Philharmoniker
Musikalische Leitung: Claudio Abbado
Inszenierung: Herbert Wernicke
Boris - Anatoli Kotscherga
Fjodor - Ruxanda Donose
Schuiski - Philip Langridge
Pimen - Alexander Morosow
Dimitri - Vladimir Galouzine
Marina - Marjana Lipovsek
Rangoni - Sergei Leiferkus - เพลง
Esecuzione storica!Abbado e cast eccezionali.Irripetibile!Straordinario!
Straordinaria messa in scena. Regia, Abbado e cantanti superlativi.
Boris for me is the best Opera ever.
Do you know Khovanshchina?
@@ColonelFredPuntridge I would say the same
@@Scotzie69 Which do you mean you would say: that BORIS is the best ever, or are you echoing my preference for KHOVANSHCHINA?
To me, BORIS is a cliche. He had to murder a child in order to become Czar, and now he feels guilty, not surprising, boo hoo, I'm supposed to feel sorry for him??? But KHOVANSHCHINA is a thriller, taut and full of energy.
Thanks for uploading this superb performance I've been looking for years without success. Herbert Wernicke demonstrates that when you read carefully the libretto and have talent, you can modernize a production without falling into nonsense and ridicule like unfortunately so many illiterate directors do today around the world.
Galouzine, what a wonderful voice!🤩😍
Superb!!! Wonderful!!! - Превосходно !!! Замечательно !!!
I waited this production!!! Thanks, a lot.
I came, again. Really nice production.
I wish release DVD or blu-ray disk.
Time: The years 1598 to 1605
Place: Moscow; the Lithuanian frontier; a castle in Sandomierz; Kromï
Part 1 / Prologue
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. [Original 1869 Version only: The people discuss the statements of the pilgrims. Many remain bewildered about the identity of this Tsar. The police officer interrupts their discussion, ordering them to appear the next day at the Moscow Kremlin. The people move on, stoically exclaiming "if we are to wail, we might as well wail at the Kremlin".] 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 climax 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
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. [Original 1869 Version only: At Grigoriy's request, Pimen tells the vivid details of the scene of the murder of Dmitriy Ivanovich, which he witnessed in Uglich.] 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.
Scene 2: An Inn on the Lithuanian Border (1603)
There is a brief orchestral introduction based on three prominent themes from this scene.
[Revised 1872 Version only: The Hostess enters and sings the 'Song of the Drake' ("I have caught a gray drake"). It is interrupted towards the end by approaching voices].
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. The Hostess mentions that the police are watching the ordinary roads, but they are wasting their time, because there is an alternative, less well-known way to get to the 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. Varlaam is only barely literate, but he manages to haltingly read 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.[Revised 1872 Version only: Fyodor tries to console Kseniya and shows her the magic of the clock, once it starts chiming].
Kseniya's nurse assures her that she will soon forget about "Prince Ivan". [1872: The nurse and Fyodor attempt to cheer Kseniya up with some songs ("A gnat was chopping wood" and "A little tale of this and that").] 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"). [1872: At the end of this arioso he reveals that he has been disturbed by a vision of a bloody child begging for mercy. A commotion breaks out in his children's quarters. Boris sends Fyodor to investigate.] The boyar-in-attendance brings word of the arrival of Prince Shuysky, and reports a denunciation against him for his intrigues. [1872: Fyodor returns to relate a whimsical tale ("Our little parrot was sitting") involving a pet parrot. Boris takes comfort in his son's imagination and advises Fyodor, when he becomes Tsar, to beware of evil and cunning advisors such as Shuysky.] 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 Tsarevich 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.[1872: The chiming clock again begins working.] 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.
Langridge as Shuisky is really luxury casting!
Кочерга гениальный исполнитель! Браво!!!
great, unforgettable Shuisky of Philip Langridge :)
He looks a lot like Peter O'Toole.
Absolutely ! Unforgotable ! The best Chouisky ever ! (singer AND actor -> look at his face at the coronation ! Chilling !!). He is fantastic too in a DVD version in Barcelona (with Matti Salminen in Boris)
Kotscherga, an extraordinary Boris!
Cela fait tellement d'années que j'écoute cette version en boucle au disque, en espérant voir un jour la mise en scène filmée. Merci qui? Merci kis!
Vous êtes les bienvenus! martus :-)
Эта постановка напомнила мне "Женитьбу" в версии театра "Колумб" из бессмертных "12 стульев".
Хорошо,что Мусоргский не дожил до этого шедевра...
Но ведь исполнение хорошее
grande
Act 3 (The 'Polish' Act) (1872 Version only)
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. 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
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 Kromï, of his intent to retake his father's throne, and of the defeat he will deal to the Godunovs. A yuródivïy 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 yuródivïy 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 yuródivïy's cries are heard. Boris asks why he cries. The yuródivïy 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 yuródivïy seized, but Boris instead asks for the holy man's prayers. As Boris exits, the yuródivïy declares that the Mother of God will not allow him to pray for Tsar Herod (see Massacre of the Innocents). The yuródivïy then sings his lament ("Flow, flow, bitter tears!") about the fate of Russia. [Original 1869 Version only: The assembled boyars listen as Shchelkalov, reading the Tsar's ukaz (edict), informs them of the Pretender's claim to the throne of Russia, and requests they pass judgment on him.] 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 Kromï (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 yuródivïy 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 yuródivïy 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 yuródivïy, who sings a plaintive song ("Flow, flow, bitter tears!") of the arrival of the enemy and of woe to Russia.
My best version of Boris was on the Brussels Opéra House, conducted by Sylvain Cambrelain and José Van Dame as Boris.
In the year 1990 or 91
Cette version musicale d’Abbado est musicalement très réussie, même si elle ne vaut pas celle de 1993, mais ne gagne pas à être vue. Boris Godounov est un œuvre fondamentalement enracinée dans l’histoire et la culture russe, et toute transposition dans une modernité universelle indéterminée est absurde et réduit la portée de l’œuvre. L’œuvre porte bien des questions et des messages universels, mais qui n’a des sens qu’à partir des particularismes historique et culturel russes. À cet égard la mise en scène d’Andrei Tarkovski est exemplaire (Covent Garden, 1983) même si la captation filmique d’Humphrey Burton (Kirov, 1990) n’en restitue que trop peu la richesse et la profondeur.
Oui enfin si toutes les mises en scène d'opéra étaient au niveau de celle ci, meme un peu "transposée dans la modernité", je signerais tout de suite hein. Quand on voit ce qu'on peut nous servir parfois, y compris pour Boris, cette mise en scène magnifique, meme un peu modernisée est parfaite!
Vous appellez “moderniser” quand les costumes et décors ne sont pas historisants? …pfff, allez voir le cérémoniel de l’ouverture des séances parlementaires avec la reine d’Angleterre dans ce cas ! L’Opéra est du théâtre avant tout, vivant et universel et la mise en scène de Wernike est absolument bouleversante, elle tire tout de cette pièce et en plus elle réussi cela avec les dimensions salzbourgeoises! … et avant tout un grand bravo aux Berliner et Abbado et ses chanteurs en flammes!
Regardez la version Marinsky/Graham Vick , et vous tomberez en syncope . Mais persionnellement , j'aime quand une mise en scène n'est pas que décorative, mais m'incite à réfléchir .
I don't if that bell were mere styrofoam, I would not have the guts to stand under that thing for anything.
Old Believers enter - 11:15 ;; Coronation scene - 14:44 ;;;; Polonaise - 2:01:10
Not a bad version by itself, but far below the old renditions. Godunov in particular is much weaker.
Check out the classic Bolshoi rendition from 1978 with Nesterenko. Should be somewhere on TH-cam, even with English subtitles.
Nesterenko is a genius singer and actor.
In Rimsky's version ? No thank you !! Here, it is the original of Moussorgsky, the best one.
But I agree : Nesterenko is a wonderful singer. But Kotcherga is a wonderful Boris too, excellent actor.
Where can I find this version with english subs?
The libretto is on the Net
Whom are all these people in the pictures at the beginning of the video ?
Russian heads of state
Is the Varlaam being sung by Aage Haugland?
Yes, he is - and isn't he wonderful?
@@irenemoews1410 He's so great. I have some of his work on my channel. Take a look!
@@ColonelFredPuntridge Thanks! Yes, he is, indeed!!!! I like him also very much in Wozzek (of course with the same wonderful conductor, Claudio Abbado!).
@@irenemoews1410 There's a video of him as Baron Ochs, with Kiri te Kanawa. Here: th-cam.com/video/3D7abQTy71I/w-d-xo.html
And have you heard him sing Fasolt, Fafner, Hunding, and Hagen? It's all in various places on TH-cam.
ボリスゴドゥノフの史上最高の演奏
Calmez-vous !
Сценография и костюмы годятся, если только русского текста не знать. или либретто переписать под нужды(а оно не переписывалось).
Геніальна постановка,дякую!!!!!
Хочу ещё добавить- просто убила сцена в корчме,и эта трактирщица-зоофилка,обнимающая селезня:)
現代にアレンジしている斬新な演出ではある。安くついただろう。プーチンとゼレンスキー、ロシアのウクライナ侵攻が日々激化している中で、終幕の聖愚者のソロはあまりに悲しい。
It is a novel production that is arranged in the present age. It would have been cheap. Putin and Zelensky, Russia's invasion of Ukraine is intensifying every day, and the ending solo of the Holy Fool is too sad.
‘94年ウィーン国立歌劇場来日時、同じアバド指揮アンドレイ・タルコフスキー演出の名舞台に接した者です。本演出の評価はさておき、現今のウクライナ情勢を見るにつけ聖愚者のモノローグに胸塞がる想いは同じです。400年あるいはそれ以上の歳月が経過しても変わらぬ人類の愚かさよ…。
As Boris I prefer a real bass, because A. Kotscherga is a bass-bariton. His voice is to bright for this role.
2:01 / 3:40 / 5:30 / 9:50 / 11:21
14:47 / 16:20 / 18:53
А что сказали бы Пушкин,Мусоргский,Римский-Корсаков или,скажем, Голованов, или тот же Шаляпин?
Вопрос не риторический и ответ на него у меня есть.
Сказали бы "Браво!"
Конечно, постановка скандальная и вульгарная. Но она интересна,- как взгляд европейца на РОССИЮ, её историю. Возможно, такими они нас видят (или хотели бы видеть). Хуже только постановка в СПб на сцене Императорского Театра с участием Гергиева в 2012 году. Там стремление к "сенсационному прочтению" и эпатажу вылилось в низкопробное и грязное фиглярство. Постановщик "нагрузил" наш русский и всемирный шедевр такой невообразимой гадостью и пошлостью, что просто диву даёшься. Где -то в подвальном молодёжном экспериментальном театрике в Лондоне или Берлине это ещё можно представить, но не на главной же сцене Российской Империи.
@@VITRUVIUSCHANNELSOCIETAS
И тут есть ответ, но в виде вопроса : а кто главный на этой Императорской сцене России ?
2:51:18
Мим
gee what language is it? I suppose it is Russian - good there are subtitles in French. Can't they sing it in a language closer to the western world - I know that russian operas are sung usually in German (in addition to the ever existing Italian versions) - Anyway very good production thanks for posting.
What russian operas are sung in german? Makes no sense to me.
Yes, they sing russian.
I have Eugene Onegin in German and English texts - Complete score for piano and singing, from G. SCHIRMER
Oh okay, sorry. I didn't know that. I have never heard of a Mussorgsky opera that has been translated to another language. They're all in russian.
How old is that score? It used to be the habit to translate Russian operas into German for the better understanding of an English-speaking audience, but that hasn't been the practice for decades. Since supertitles came into use in the 1980s, the standard practice is to give the opera in the original language. Every Russian opera I've ever seen in my life-and my first opera was _Boris Godunov_ at the age of nine in 1989-has been in Russian with a translation in supertitles projected above the stage.
No, it's Russian. But singing/phrasing are far from perfect and don't do justice to the beauty of the language, especially compared to the older versions.
No. This not. Listen Gergiev.
Gergiev is dull in Boris !
пожалуй,в первый раз вижу,когда режиссура переигрывает музыкальную часть...сильно...и очень актуально для России наших дней
Позор артистам участвующих в мерзопакостном издевательстве над Русской оперой. Пусть эти деньги будут вам на лекарства!
Проклят будь режиссёр школы за издевательство над великой Русской оперой!
Можно ли представить более отвратительную Марину? И что за глупейшие купюры - жуть.
Постановка интересная, но в ней никто толком и не играет. Хорошо хоть Галузин тут есть... хотя в студийной записи с Гергиевым он звучит лучше, особенно по фразировке. Хотя чего удивляться? С таким составом трудно не скатиться на общий уровень.
Лейферкус и Галузин хороши, постановка идиотская.