Modest Petrowitsch Mussorgsky / Модeст Петрович Мусоргский (1839-1881) Boris Godunov : Opera in four acts and a prologue. *Activate the English subtitles for the presentation* (00:00-02:10) Tous les commentaires en français : voir premier commentaire épinglé. Prologue Scene One Nu, shtozh vy ? (00:00) Na, kovó ty nas pokidáesh, otyéts nash ! (02:26) Pravoslávnyye ! nye umolím boyárin ! (07:24) Sláva tebyé, tvortsú vsevyshnemu, nazemli ! (10:48) Slykhál, shto bózhyi lyúdi govoríli ? (14:53) Scene Two Da zdrávstvuet tsar Boris Feódorovich ! (18:31) Skorbít dusha (23:11) Sláva, Sláva, Sláva ! (25:43) Act 1 *Activate the English subtitles for the presentation* (27:28-27:43) Dans une Russie frappée par la peste, la famine et les crises politiques, le peuple décide d'acclamer son nouveau tsar, Boris Godounov. Il apparaît troublé, assailli par les doutes et les pressentiments - personne ne sait à l'époque que pour accéder au trône, il a fait éliminer le réclamant légitime - Dmitri, un des fils d'Ivan le Terrible. Scene One Yeshchó poslyédneye skazáye (27:28) Odnáko blízok dyen (31:36) Ty vsyo pisál i snom nye pozabylsa (35:39) Nye syétuy, brat, shto ráno gréshny svyet pokínul (38:39) A syn yevó Feódor ? (41:02) Davnó, chyestnóy, otyéts (42:39) Zvonyát k zaútrenye.. (48:45) Scene Two Poymála ya síza seleznyá (52:20) Zhenó, mir dómu tvoemú ! (55:50) Kak vo górode bylo vo Kazáne (58:23) Shtozh ty nye podtyágivaesh (1:00:44) Kak, yédet yon (1:02:18) Nu, otsy moí, kakovó promyshlyáete ? (1:07:20) Ya grámotny (1:10:02) Act 2 *Activate the English subtitles for the presentation* (1:13:55-1:14:31) Le novice Grigori a appris du vieux moine Pimen les crimes de Boris Godounov. Sachant qu'il a le même âge que le tsarévitch Dimitri assassiné, Grigori se sent poussé par un grand destin et entreprend de renverser Boris et de conquérir le trône. Voyageant incognito dans une auberge, il échappe de justesse à la police qui a été alertée de ses plans, et il fait passer le moine défroqué Varlaam pour le véritable fugitif. Gdye ty, zheníkh moy (1:13:55) Kak komár drová rubíl (1:18:31) Ekh, máma, mámushka (1:20:26) Chevó ? Al lyúty zvyer nasyédku vspolokhnúl ? (1:23:00) A ty, moy syn, chem zányat ? (1:24:52) Dostíg ya vyshey vlásti (1:27:12) Shto takóe ? (1:33:08) Pópinka nash sidyél s mamkámi v svetlítse (1:35:14) Moy syn, dityá moyó rodnóye ! (1:37:20) A, preslávny vitiyá (1:39:15) Konyéshno, tsar, sil’ná tvoyá derzháva (1:41:54) Vzyat’ myéry, syey zhe chas (1:43:49) V Ugliche, v soboryé, pred vsyém naródom (1:47:37) Uf ! tyazheló ! Day dukh perevedú.. (1:49:19) Act 3 *Activate the English subtitles for the presentation* (1:52:58-1:53:45) Cinq ans se sont écoulés depuis le couronnement de Boris. La solitude du pouvoir aggrave les tourments du tsar, et le peuple meurt de faim....De plus, le prince Chouyski l'informe de la révolte fomentée par un usurpateur qui se fait passer pour Dmitry, le prétendant légitime au trône... Avec son fils Fyodor, le tsar réfléchit à son accession au trône. En Pologne, Grigori retrouve la charmante Marina, dont il est amoureux. La jeune femme, rageusement ambitieuse et poussée par le moine Rangoni, ne rêve que de conquérir le trône et Moscou : laissez Grigori prendre le trône, et elle lui accordera sa main. Scene One Na Víslye lazúrnoy (1:52:58) Krasótka pánna blagodárna (1:56:09) Kak tomítel’no i vyálo (1:59:04) A! Akh? Éto ty, moy otyéts ! (2:02:58) Krasóyu svoyéyu plení samozvántsa ! (2:07:48) Plámenem ádskim glazá tvoí zasverkáli (2:10:00) Scene Two V pólnoch..v sadú..u fontána (2:12:10) Tsaryévich ! ..Opyát’ za mnoy ! (2:15:32) Zloy dyémon ! (2:16:43) No yésli Dimítriy vnushényem bózhyim (2:20:39) Polonaise..Váshey strásti ya nye vyéryu, pánye (2:21:33) Kak tomitel’no, kak dólgo (2:27:35) My I v khízhinye ubógoy (2:29:57) Stoy, Marina ! (2:33:48) O tsaryévich, umolyáyu (2:35:10) Act 4 *Activate the English subtitles for the presentation* (2:39:34-2:40:15) La fin de Boris est imminente : le peuple intuitionne ses crimes, et un pauvre Innocent le compare publiquement à Hérode. Même si l'assemblée des boyards publie un édit condamnant le faux revendicateur Grigori, Boris est pris au piège de ses crimes : souffrant d'un accès de délire, il apparaît, évoquant le petit tsar assassiné, demande à Dieu de lui pardonner, et s'effondre sur le sol alors que la foule le bat. C'est l'une des scènes les plus extraordinaires du répertoire. Le faux Dmitry sera couronné comme le nouveau tsar de Russie. Scene One (2:39:34) Shto, otoshlá obyédnya ? (2:39:35) Trrr, trrr, trrr, trrr ! (2:44:47) A-a ! A-a ! Kormílets batyúshka (2:47:34) Scene two A-a ! A-a ! … Borís ! (2:49:02) Sanovítyye boyáre ! (2:54:28) Shtozh ? poydóm na golosá, boyáre (2:57:41) Zhal’ , Shúyskovo nyet knyázya (3:00:38) Ya sózval vas, boyáre (3:05:34) Smirénny (3:07:50) Tsaryévicha skoréy ! (3:13:21) Zvon ! Pogrebál’ ny zvon ! (3:20:51) Scene Three Valí syudá ! (3:25:36) Nye sókol letít po podnébyesyu (3:27:48) Sóntse, luná pomyérknuli (3:30:29) Gaydá ! Raskhodílas, razgulyálas (3:31:48) Domine, Domine, salvum fac (3:34:35) My, Dimítriy Ivánovich (3:39:12) Lyéytes, lyéytes slyózy górkiye (3:40:45) Boris Godunov : Martti Talvela Grigory (Dimitri) : Nicolai Gedda Pimen : Leonard Mróz Marina : Bozéna Kinasz Rangoni : Andrzej Hiolski Varlaam : Aage Haugland Missail : Kazimierz Pustelak Shuisky : Bohdan Paprocki Fyodor : Wiera Baniewicz Xenia : Halina Lukomska Nurse/Amme/La nourrice : Bozéna Brun-Barańska Shcheikalov : Andrzej Hiolski Polish Radio Chorus of Krakow Chorus master : Tadeusz Dobra…. Boys’ Chorus from Krakow Philharmonic Chorus Chorus director : Bronislawa Wietrzny Polish Radio National Symphony Orchestra Conductor : Jerzy Semkow Recorded in 1976 Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr Si un seul opéra devait symboliser la Russie, il s'agirait sûrement de Boris Godounov. Non seulement la partition résume admirablement le style de Modeste Moussorgski, avec ses cloches, ses carillons, son orchestre aux panachures sauvages et ses scènes chorales flamboyantes, mais elle tire aussi sa force de la juxtaposition de deux niveaux qui se répondent et se pénètrent magistralement : d'une part, le portrait imposant, terrifiant et pitoyable de Boris, tsar usurpateur rongé par une omnipotence autodestructrice ; d'autre part, le peuple russe, véritable héros de l'opéra, qui apparaît dès les premières scènes et revient régulièrement commenter l'action et la précipiter. Sur ce fond en partie vrai peint par Pouchkine, Moussorgski tire les ficelles d'un drame national qui, par la magie d'une langue aussi réelle que belle, se transforme en une grandiose tragédie universelle. Mussorgsky - Boris Godunov 1972 (Vedernikov - Century’s recording : V.Fedoseyev) th-cam.com/video/pA-LLi7YZZE/w-d-xo.html Modest Mussorgsky PLAYLIST (reference recordings) : th-cam.com/video/stbY96rf_rE/w-d-xo.html
Actually Eugen Jochum already recorded this version of the opera in the late '50s, although with a german-speaking cast (Hotter, Modl, Hopf, Bohme, Borg, Kusche, Kuen, Uhde, Nissen). The Semkow recording by the way is the 'original' version only because it uses Mussorgskij's orchestration; but it's actually conflation of the 1869 and 1872 versions, keeping together the S. Basil Scene and the Kromy scene (which btw many conductors still do). In fact Semkow stuffed his recording with any music Mussorgskij wrote for Boris Godunov - which makes it quite arbitrary.
This is the Conflation of the 1869 and the 1872 version of this great masterpiece...many thanks for this great recording (for me this is one of the best)!
Mussorgsky was in some sense the first modern composer. His orchestration, pared down to essentials, is perfectly in line with the aesthetic of a Bartok or Stravinsky, but was unacceptable to a traditionalist such as Rimsky, who accurately reasoned that the original wouldn't be acceptable to the audiences of his day.
My dad owned this on a set of glass records. He occasionally lent it out to radio stations in NYC, as it hadn't been available to find easily for a while. For years, Gedda's performance was recognised as the benchmark. Thank you so much for making it available like this!
Did you by any chance hear Scala's Boris a few day ago. I do like Chailly, but I had the impression that he understood nothing of the musicality of this opera.
@@EdoardoFittipaldi , mi pare che non capisca nulla anche di altre partiture. E' un direttore superficiale molto sopravvalutato che occupa un posto alla Scala che non gli competerebbe.
@@fabriziogarzi9892 Conosco a fondo poche sue esecuzioni, ma il suo Tell (con Pavarotti) mi pare buono; anche se per me deve essere cantato in francese.
Thanks for this post. I love this opera especially in the Mussorgsky orchestration and layout of scenes. Rimsky-Korsakov was I'm sure well-meaning, but Mussorgsky has a depth that comes out more forcefully in his original meters and orchestration. Not speaking Russian I was not bothered by the diction and found the singing and orchestra most moving and haunting from the death of Boris to the end with the Fool's lament--for some reason that part wrings my heart.
I'm still thinking about this recording, almost a week after I listened to it, and the same excerpt is stuck in my head, where it's been since I first heard the opera almost 40 years ago - Rangoni's aria, that silky, cynical, insinuating piece that tries to lure Marina and Dimitry into the Jesuit's web. A masterpiece.
This is Mussorgsky's second version of 1872 in which he added the third Act, and made many changes and revisions to his first, 1869 version. This recording was the first to use Mussorgsky's own orchestration, but it's no longer the only recording of his own orchestration: several other recordings have appeared since this important recording appeared. But Semkow's conducting was widely criticized at the time for being dull. There is no excuse for performing Rimsky Korsakov's recomposed and re-orchestrated version. Contrary to popular belief, both of Mussorgsky's versions were fully composed and orchestrated and was very well received when it was premiered during the composer's lifetime.
Good voices, but just no. Only Gedda is up to the task. Respect to Talvela for a huge effort, but his phrasing and pronunciation are at best mediocre. After hearing a dosen of Godunovs the only thing I can say: one should go either for generic versions (Vedernikov, Nesterenko) or for Bulgarian interpreters (Christov, Ghiaurov, Ghiuselev). Though this version may be ok for those who don't speak Russian.
Russian operas are as much language and phrasing as music, these two aspects can not be taken separately. This rendition is good musically, but in terms of meaning and impression half of it is not there.
Classical Music, don't forget to add 'imho' ;). And no need to defend it so ferociously, it _is_ a good version just absolutely not the best. The problem is that it's virtually impossible for foreign singers (bar Bulgarians) to achieve correct Russian phrasing and pronunciation, and this distorts their singing. Respect for effort but find good early Russian vinyls or Christov recording from 1962 with Bulgarian choir. 1962 is exceptional both in music and language.
Yes this is the best "Original Version" and Fedoseyev, Vedernikov (Philips) is the best "Definitiv Version" (coming soon). There are very good versions arranged by Rimsky-Korsakov. It is another subject.
Haec versio “operis magni” Moussorgsky, mihi iam ante permultos annos nota, mihi adhuc maxime placet. Gratias tibi quod iterum hoc loco in lucem edidisti ut liceret id denuo audire totum!
Hans van Kasteel: "This version of the "great work" Moussorgsky, has all along been known for many years, I still prefer it best. Again I thank you that it is once more where it belongs, that it might be allowed to be heard in its proper light, given birth to as a whole!"
Ahhhhhhhhhhhhhhhhhh . . . I purchased this version on LP 35 years ago because Talvela sang Boris. I wanted to see this at the Met in January, 1976 when he was performing the role (I might have heard it on the Saturday broadcast), but I couldn't get a ticket. I remember the sensation Talvela caused when he toppled down the steps after his final aria - something he repeated at every performance. Listeners will always quibble about the "best Boris," and whether the opera should only be performed by a Russian cast, but this is an intensely personal matter of taste - and I really like this performance. Thanks so much for posting it.
I’m sorry to say this but I LOVE the second version, that Polish act, Marina!!!! The only thing I like about the original is that it ends with Boris’s death, the way it should be.
That wonderful,special feeling,as I listen to this magnificent piece,is almost impossible to describe!Music always gives the most and leads to the magical world of beauty,spirituality!Yesterday I listened to this opera for the first time,performed by Wiener Philharmoniker with my the most favorite conductor Karajan1970!I am completely fascinated and recommend to everyone!That's why I listened today again !I am thrilled this time with this brilliant,enchanting version!Thanks to all the artists,they enrich and beautify my life💜💜💜💜💜💜💜
We have lost a huge musical treasure as a consequence of Mussorgsky's early death. I'd say that Khovanschina ranks as the equal of Boris, but so many composers had a hand in bringing it to the stage that it's almost written by a committee.
But what a committee: Mussorgsky, Rimsky-Korsakov, Stravinsky, Ravel, Shostakovich! (True, not all together in the same version, but they all played a role in the work's history.)
I’m not 100% certain but I’m pretty sure this is actually technically the 1872 revision that was first performed in 1874. The original 1869 written by Mussorgsky ends with the death of Boris.
Walter Busch -- Thanks! Ich bin damit einverstanden...True, a rare, exquisite vintage echo of The Golden Schwäbisch Age! (Tut mir Leid...Ich meinte 'Schuldaufdeckungsangst…..Ebenmäißgkeitsentzückung- Rindfleischetikettierungsüberwachungsaufgabenübertragungsgesetz!) Herzlich, Mexikaner Donaudampfschiffahrtsgesellschaftskapitän !
Just listened to this again yesterday and today; what an amazing, powerful work, brilliantly sung. A great pity that Mussorgsky died so young; what prodigies he might have produced - but if you're going to write only one opera in your lifetime, let it be Boris Godunov.
@@finylvinyl66 I've never listened to "Khovanschina" all the way through, only heard a few excerpts (maybe from a Met broadcast?) . . . but I have a CD of "La Prophete" (which is as grand as French grand opera gets), and that's enough death-of-hundreds-by-burning-cathedral for me! (Seriously, you're probably right, and I should hunt up a performance of the Mussorgsky. Thanks for the suggestion!) But, BTW, what IS it about Gruesome Death in opera? Pushed into vats of boiling oil! Dozens of nuns guillotined! Eck!
@@finylvinyl66 Thanks to your suggestion, I've been watching a 1989 production of Khovanschina by the Vienna State Opera, Abbado conducting . . . sets are somewhat strange, but, WOW, what singing and acting! Just taking a break after Act 3 to say thank you for the suggestion! What a masterpiece (although one wonders where Mussorgsky left off and Rimsky/Stravinsky/Shostakovich took over). Amazing work, nonetheless.
@@finylvinyl66 Just finished watching the video; singing was amazing, acting was excellent, and the staging was peculiar . . . not my cup of tea. But the opera was well worth watching (with English subtitles, for which I was grateful). thanks again for the suggestion!
Astounding result, you think you were there. Mtro V. Gergiev worked also with a team of russian musicologists, on the restoration & recording, at mid 90's, of the same original version by Mussorgsky.
I own this version from the time it was released. Back then, in casettes; now, in CDs. I not quit sure about Semkow, but all in all, this is my preferred choice always, as a whole. I simply love Talvela, even if he's not in his prime. I've preferred some other Dmitry (there were many by that time: Piavkò, Atlantov). I recommend this enthousiastly!
Прекрасное исполнение ,я впервые услышал великого Николая Гедда. Но есть одно замечание - это очень сильный,просто ужасный ,акцент многих певцов!Это очень мешает мне воспринимать то ,что они поют.
Thank you for making this recording available. I saw Boris performed in Dallas, TX, some years ago, and it has been one of the highlights of my otherwise dull life.
Actually, Mussorgsky wrote two versions of Boris Godunov. This is the 1872 version, the 1869 does not include the Polish act, and the last scene is different as well.
This version is the "best of both worlds" . It has teh St. Basils scene from the 1869 version, (which was tragically cut from the 1872 version) but also has teh final scene that only existed in the 1872 version. My guess is that for other conflcts, they went with the 1872, for the most material. Thanks. This is great.
Gedda is the only one who demonstrates an impeccable Russian pronunciation. That was his native tongue, though. Talvela's i acceptable although not idiomatic. The Poles' Russian pronunciation is akin to their natural hatred to Russia and everything that is Russian. The Poles should not have been engaged to perform this opera. Gedda jest jedyny w tym nagraniu, który może się pochwalić nienaganną wymową rosyjską. Rosyjski był zrestą jego językeim ojczystym. Talvela śpiewa poprawnie, ale widać. że śpiewa w języku obcym. Wymowa zaś Polaków odbija ich wyssaną z mlekiem matki nienawiść do Rosji i wszystkiego co rosyjskie. Nie należało zapraszać Polaków do wykonywania tej opery.
Music is always national. Boris Godunov is Russian, Aida is Italian, Lohengrin is German, etc. No Marina in this version? Where do you think you eyes are (and ears, too)? The so-called "Polish Act" begins at 01.52 and ends at 02.38 of the recording posted here. Marrina is sung by the Poslish soprano Bożena Kinasz. Hahahaha.
Actually he was Swedish by his citizenship only. He grew up in a Russian family of which he was an adopted son. His native tongue was actually Russian.
Amazing . . . absolutely amazing. I just finished listening to this, the first time I've heard it in at least a dozen years. What a treat. I always read the comments when I watch one of these videos, and it's interesting how opinions vary - but, of course, music is such a personal experience. As a unilingual American, I'm in no position to comment on Russian pronunciation, nor, as a non-musician who has heard no other recording of Boris, can I compare this version to any other. I do really like the idea of sticking to Mussorgsky's original score, and I appreciate your ringing defense of this recording. (And it does strike me as really unfair to criticize the fact that the cast, conductor and orchestra were almost exclusively Polish. Music is - or should be - a universal language.)
I first heard Boris circa 1952 with Christoff as Boris and Gedda (his first recording) as Dmitri. Blew my socks off. I desperately wanted to hear Mussorgsky's "original." Got a piano score from the UC Library and dragooned musically literate friends into playing it for me. This recording is as close as one is likely to get. I bought this when it came out circa 1976. Crushed to discover I preferred Rimsky-Korsakov version. Listening to it now for the first time in years, Rimsky-Korsakov having faded into dim memory. Reaction similar to my first listening close to 60 years ago. In the guarded language of professional reviewers: "Holy Shit." On '69 vs. '72 versions: my recollection is that the main difference is the Polish sub-plot. My friend "Ralphie the neo-classicist," who turned me on to Boris in the first place (he taught Russian lit at U Toronto until he retired) said Christoff's pronunciation was a bit Bulgarian. Ralphie isn't available to critique Talvela for me, but given his voice, he could as well have sung his part in Italian the way Pinza did and I would have been happy.
My one trip to the Met was during the 1975-76 season when Talvela sang the title role in "Boris." Alas, my schedule didn't mesh with Talvela's, so I never heard him. But speaking of Talvela, have you seen the YT video of his scene with the great Josef Greindl in "Don Carlos," with Greindl as Filipo and Talvela as the Grand Inquisitor? Magnificent and hair-raising! Talvela's makeup and acting in that scene gave me the chills!
If I can find it, i'll watch it. (I think I heard it and that was pretty special. My first encounter with Talvela was the Verdi Requien with Luciano, Joanie , Marilyn and Zubie. I'd never heard Luciano before either. @@richardcleveland8549
Talvela und Greindl: Your advance billing was right on target, although a bit strange in German; worth watching with the sound off. What struck me in my first encounter in the Requiem was his even tone through his entire range, and his agility. The Oro supplex et acclinis, cor contritum quasi cinis is sung with the agility of a tenor. Never before heard of Greindl; great but probably confined to German houses
My biggest problem with this recording is the consistently sluggish tempi. Much, much too slow. Recordings of Boris normally needed 3 LPs -- this one had 4.
I love Talvela and I gave this a listen almost exclusively for him, and all in all I didn't love this recording. Reading the comments people seem positive on Gedda in this this, I actually found him a little too typical "Hi I am an operatic tenor" sounding as dmitry and not a ton of character, well sung, not well acted. This is my favorite opera so it's good to spend time with an old friend, but this isn't the best version out there.
It's the best "original" version available. If you know of another offer it (we are not talking about the version revisited by Rimsky Korsakov). There is also the definitive version by Mussorgsky. Mussorgsky - Boris Godunov/Definitive Version 1972 (Vedernikov - Century’s recording : V.Fedoseyev) th-cam.com/video/pA-LLi7YZZE/w-d-xo.html
@@classicalmusicreference But this isn't at all the "original" version. The Semkow recording is the 1872 revision, but has the St. Basil Scene from the 1869 version interpolated, which Mussorgsky had (bafflingly, IMO) cut from his reworking of the opera. The original 1869 version is much shorter, as it is only 7 scenes and lacks the entire Polish Act and the Kromy Forest scene. Additionally, the music is quite different in several places, especially in the Cabinet scene, where the Boris Monologue was noticeably reworked in 1872 to be a much more coherent set piece. While I adore the Semkow set because it was my first Boris with the "authentic" orchestrations by Mussorgsky, it cannot be said to be either the "original" conception, nor a faithful recording of the 1872 version, due to the inclusion of the St. Basil scene (thus requiring a modified version of the Kromy Forest scene that edits out the Holy Fool melodrama with the street urchins). For actual authentic recordings of the 1869 AND 1872 versions, there is the Gergiev combined box set with the Kirov Opera. Of course, Gergiev is now *persona non grata* in many parts...
This version has the finest orchestral performance as well as a superior chorus. The Polonaise is authoritative. Semkow's conducting is brilliant. I don;t care about Russian pronunciation. I care about the music and this performance is tops, except for Chaliapin's Clock Scene.
Sorry to say this but if you don't care about language in Russian operas, you have zero understanding of Russian operas. This is like not caring about proper legato in belcanto. There are much better versions around - Mussorgsky with Vedernikov for example. This version is indeed just 'half of it'.
The day that there will be a version that completes the other half she will be in this channel. For the moment, maybe, she doesn't exist. What do you think of the language and the phrasing of this version ? The link : www.amazon.fr/Moussorgsky-Godounov-Modest-Petrovitch-
The music first, above language. The vocalization here is superior. The chorus is superior. The conductor's interpretation is vastly superior, particularly in the Coronation and Final scenes. Gedda outdoes his competition, and Talevela is brilliant. No one I know speaks Russian. So we don't care. We read the English-language libretto. And that's that. Today's audiences don't speak any of the languages operas use. They just love the music. People who demand understanding of the language are like obsessive-compulsives who demand that the Latin in Carmina Burana be pronounced clearly when no one in the audience speaks Latin. Ridiculous.
![Round The Horne! Series 4.1 [E1 to 6 Incl. Chapters] 1968 [High Quality]](http://i.ytimg.com/vi/xP-wbnRNISY/mqdefault.jpg)
![Round The Horne! Series 4.1 [E1 to 6 Incl. Chapters] 1968 [High Quality]](/img/tr.png)
![เปิดบ้าน พี่ตูน Bodyslam หลังใหม่คนแรก ที่ภูเก็ต l [Nickynachat]](http://i.ytimg.com/vi/flFwcmyDQSk/mqdefault.jpg)
Modest Petrowitsch Mussorgsky / Модeст Петрович Мусоргский (1839-1881)
Boris Godunov : Opera in four acts and a prologue.
*Activate the English subtitles for the presentation* (00:00-02:10)
Tous les commentaires en français : voir premier commentaire épinglé.
Prologue
Scene One
Nu, shtozh vy ? (00:00)
Na, kovó ty nas pokidáesh, otyéts nash ! (02:26)
Pravoslávnyye ! nye umolím boyárin ! (07:24)
Sláva tebyé, tvortsú vsevyshnemu, nazemli ! (10:48)
Slykhál, shto bózhyi lyúdi govoríli ? (14:53)
Scene Two
Da zdrávstvuet tsar Boris Feódorovich ! (18:31)
Skorbít dusha (23:11)
Sláva, Sláva, Sláva ! (25:43)
Act 1
*Activate the English subtitles for the presentation* (27:28-27:43)
Dans une Russie frappée par la peste, la famine et les crises politiques, le peuple décide d'acclamer son nouveau tsar, Boris Godounov. Il apparaît troublé, assailli par les doutes et les pressentiments - personne ne sait à l'époque que pour accéder au trône, il a fait éliminer le réclamant légitime - Dmitri, un des fils d'Ivan le Terrible.
Scene One
Yeshchó poslyédneye skazáye (27:28)
Odnáko blízok dyen (31:36)
Ty vsyo pisál i snom nye pozabylsa (35:39)
Nye syétuy, brat, shto ráno gréshny svyet pokínul (38:39)
A syn yevó Feódor ? (41:02)
Davnó, chyestnóy, otyéts (42:39)
Zvonyát k zaútrenye.. (48:45)
Scene Two
Poymála ya síza seleznyá (52:20)
Zhenó, mir dómu tvoemú ! (55:50)
Kak vo górode bylo vo Kazáne (58:23)
Shtozh ty nye podtyágivaesh (1:00:44)
Kak, yédet yon (1:02:18)
Nu, otsy moí, kakovó promyshlyáete ? (1:07:20)
Ya grámotny (1:10:02)
Act 2
*Activate the English subtitles for the presentation* (1:13:55-1:14:31)
Le novice Grigori a appris du vieux moine Pimen les crimes de Boris Godounov. Sachant qu'il a le même âge que le tsarévitch Dimitri assassiné, Grigori se sent poussé par un grand destin et entreprend de renverser Boris et de conquérir le trône. Voyageant incognito dans une auberge, il échappe de justesse à la police qui a été alertée de ses plans, et il fait passer le moine défroqué Varlaam pour le véritable fugitif.
Gdye ty, zheníkh moy (1:13:55)
Kak komár drová rubíl (1:18:31)
Ekh, máma, mámushka (1:20:26)
Chevó ? Al lyúty zvyer nasyédku vspolokhnúl ? (1:23:00)
A ty, moy syn, chem zányat ? (1:24:52)
Dostíg ya vyshey vlásti (1:27:12)
Shto takóe ? (1:33:08)
Pópinka nash sidyél s mamkámi v svetlítse (1:35:14)
Moy syn, dityá moyó rodnóye ! (1:37:20)
A, preslávny vitiyá (1:39:15)
Konyéshno, tsar, sil’ná tvoyá derzháva (1:41:54)
Vzyat’ myéry, syey zhe chas (1:43:49)
V Ugliche, v soboryé, pred vsyém naródom (1:47:37)
Uf ! tyazheló ! Day dukh perevedú.. (1:49:19)
Act 3
*Activate the English subtitles for the presentation* (1:52:58-1:53:45)
Cinq ans se sont écoulés depuis le couronnement de Boris. La solitude du pouvoir aggrave les tourments du tsar, et le peuple meurt de faim....De plus, le prince Chouyski l'informe de la révolte fomentée par un usurpateur qui se fait passer pour Dmitry, le prétendant légitime au trône... Avec son fils Fyodor, le tsar réfléchit à son accession au trône. En Pologne, Grigori retrouve la charmante Marina, dont il est amoureux. La jeune femme, rageusement ambitieuse et poussée par le moine Rangoni, ne rêve que de conquérir le trône et Moscou : laissez Grigori prendre le trône, et elle lui accordera sa main.
Scene One
Na Víslye lazúrnoy (1:52:58)
Krasótka pánna blagodárna (1:56:09)
Kak tomítel’no i vyálo (1:59:04)
A! Akh? Éto ty, moy otyéts ! (2:02:58)
Krasóyu svoyéyu plení samozvántsa ! (2:07:48)
Plámenem ádskim glazá tvoí zasverkáli (2:10:00)
Scene Two
V pólnoch..v sadú..u fontána (2:12:10)
Tsaryévich ! ..Opyát’ za mnoy ! (2:15:32)
Zloy dyémon ! (2:16:43)
No yésli Dimítriy vnushényem bózhyim (2:20:39)
Polonaise..Váshey strásti ya nye vyéryu, pánye (2:21:33)
Kak tomitel’no, kak dólgo (2:27:35)
My I v khízhinye ubógoy (2:29:57)
Stoy, Marina ! (2:33:48)
O tsaryévich, umolyáyu (2:35:10)
Act 4
*Activate the English subtitles for the presentation* (2:39:34-2:40:15)
La fin de Boris est imminente : le peuple intuitionne ses crimes, et un pauvre Innocent le compare publiquement à Hérode. Même si l'assemblée des boyards publie un édit condamnant le faux revendicateur Grigori, Boris est pris au piège de ses crimes : souffrant d'un accès de délire, il apparaît, évoquant le petit tsar assassiné, demande à Dieu de lui pardonner, et s'effondre sur le sol alors que la foule le bat. C'est l'une des scènes les plus extraordinaires du répertoire. Le faux Dmitry sera couronné comme le nouveau tsar de Russie.
Scene One (2:39:34)
Shto, otoshlá obyédnya ? (2:39:35)
Trrr, trrr, trrr, trrr ! (2:44:47)
A-a ! A-a ! Kormílets batyúshka (2:47:34)
Scene two
A-a ! A-a ! … Borís ! (2:49:02)
Sanovítyye boyáre ! (2:54:28)
Shtozh ? poydóm na golosá, boyáre (2:57:41)
Zhal’ , Shúyskovo nyet knyázya (3:00:38)
Ya sózval vas, boyáre (3:05:34)
Smirénny (3:07:50)
Tsaryévicha skoréy ! (3:13:21)
Zvon ! Pogrebál’ ny zvon ! (3:20:51)
Scene Three
Valí syudá ! (3:25:36)
Nye sókol letít po podnébyesyu (3:27:48)
Sóntse, luná pomyérknuli (3:30:29)
Gaydá ! Raskhodílas, razgulyálas (3:31:48)
Domine, Domine, salvum fac (3:34:35)
My, Dimítriy Ivánovich (3:39:12)
Lyéytes, lyéytes slyózy górkiye (3:40:45)
Boris Godunov : Martti Talvela
Grigory (Dimitri) : Nicolai Gedda
Pimen : Leonard Mróz
Marina : Bozéna Kinasz
Rangoni : Andrzej Hiolski
Varlaam : Aage Haugland
Missail : Kazimierz Pustelak
Shuisky : Bohdan Paprocki
Fyodor : Wiera Baniewicz
Xenia : Halina Lukomska
Nurse/Amme/La nourrice : Bozéna Brun-Barańska
Shcheikalov : Andrzej Hiolski
Polish Radio Chorus of Krakow
Chorus master : Tadeusz Dobra….
Boys’ Chorus from Krakow Philharmonic Chorus
Chorus director : Bronislawa Wietrzny
Polish Radio National Symphony Orchestra
Conductor : Jerzy Semkow
Recorded in 1976
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
Si un seul opéra devait symboliser la Russie, il s'agirait sûrement de Boris Godounov. Non seulement la partition résume admirablement le style de Modeste Moussorgski, avec ses cloches, ses carillons, son orchestre aux panachures sauvages et ses scènes chorales flamboyantes, mais elle tire aussi sa force de la juxtaposition de deux niveaux qui se répondent et se pénètrent magistralement : d'une part, le portrait imposant, terrifiant et pitoyable de Boris, tsar usurpateur rongé par une omnipotence autodestructrice ; d'autre part, le peuple russe, véritable héros de l'opéra, qui apparaît dès les premières scènes et revient régulièrement commenter l'action et la précipiter. Sur ce fond en partie vrai peint par Pouchkine, Moussorgski tire les ficelles d'un drame national qui, par la magie d'une langue aussi réelle que belle, se transforme en une grandiose tragédie universelle.
Mussorgsky - Boris Godunov 1972 (Vedernikov - Century’s recording : V.Fedoseyev) th-cam.com/video/pA-LLi7YZZE/w-d-xo.html
Modest Mussorgsky PLAYLIST (reference recordings) : th-cam.com/video/stbY96rf_rE/w-d-xo.html
Classical Music/ /Reference Recording I love this opera. Powerful music that sends chills up and down my spine. Thank you for posting.
You're Welcome :-)
In 1981 this was the first rendering of Mussorgsky's own, unblemished score. Listening to it, was a milestone celebrating Mussorgsky's genius.
Actually Eugen Jochum already recorded this version of the opera in the late '50s, although with a german-speaking cast (Hotter, Modl, Hopf, Bohme, Borg, Kusche, Kuen, Uhde, Nissen). The Semkow recording by the way is the 'original' version only because it uses Mussorgskij's orchestration; but it's actually conflation of the 1869 and 1872 versions, keeping together the S. Basil Scene and the Kromy scene (which btw many conductors still do). In fact Semkow stuffed his recording with any music Mussorgskij wrote for Boris Godunov - which makes it quite arbitrary.
Love this above others, whatever version it is! Possibly because of Nicoli Gedda. Thank you for your educational comments on all versions and history.
This is the Conflation of the 1869 and the 1872 version of this great masterpiece...many thanks for this great recording (for me this is one of the best)!
Many thanks, you are doing a cultural improvement of internet. "Grazie" from Italy !!!
Thank you :-)
Alex Delarge you're supposed to commenting on Beethoven's ninth symphony
Alex Delarge -- .....and Gracias from San Agustinillo, Oaxaca.....BRAVI TUTTI!
Finally, Mussorgsky's version!
Mussorgsky was in some sense the first modern composer. His orchestration, pared down to essentials, is perfectly in line with the aesthetic of a Bartok or Stravinsky, but was unacceptable to a traditionalist such as Rimsky, who accurately reasoned that the original wouldn't be acceptable to the audiences of his day.
His harmony, phrasing, part writing, flexible meter, and word setting he was as well.
Rest in piece, Mr. Gedda!
My dad owned this on a set of glass records. He occasionally lent it out to radio stations in NYC, as it hadn't been available to find easily for a while. For years, Gedda's performance was recognised as the benchmark. Thank you so much for making it available like this!
Thank you for your comment :-)
Did you by any chance hear Scala's Boris a few day ago. I do like Chailly, but I had the impression that he understood nothing of the musicality of this opera.
@@EdoardoFittipaldi , mi pare che non capisca nulla anche di altre partiture. E' un direttore superficiale molto sopravvalutato che occupa un posto alla Scala che non gli competerebbe.
@@fabriziogarzi9892 Conosco a fondo poche sue esecuzioni, ma il suo Tell (con Pavarotti) mi pare buono; anche se per me deve essere cantato in francese.
Please take your time to listen this absolutly Masterpiece. Recognized today as its composer's Masterpiece and one of the most important operas of its century.
For example : (01:01) ; (02:26) ; (07:24) ; (10:53) ; (16:50) ; (19:15) ; (25:45) ; (29:33) ;
(39:22) ; (41:02) ; (48:44) ; (52:20) ; (53:26) ; (58:23) ; (1:13:56) ; (1:21:15) ; (1:27:12) ;
(1:29:28) ; (2:37:14) ; (1:37:28) ; (1:39:15) ; (1:52:59) ; (1:57:25) ; (2:00:59) ; (2:05:25) ;
(2:07:16) ; (2:12:14) ; (2:20:40) ; (2:21:32) ; (2:28:21) ; (2:35:10) ; (2:40:18) ; (2:46:43) ;
(2:53:20) ; (3:00:40) ; (3:07:50) ; (3:15:01) ; (3:21:21) ; (3:24:13) ; (4:26:51) ; (3:30:31) ;
(3:33:05) ; (3:37:59) ; (3:42:26)
Thanks for this post. I love this opera especially in the Mussorgsky orchestration and layout of scenes. Rimsky-Korsakov was I'm sure well-meaning, but Mussorgsky has a depth that comes out more forcefully in his original meters and orchestration. Not speaking Russian I was not bothered by the diction and found the singing and orchestra most moving and haunting from the death of Boris to the end with the Fool's lament--for some reason that part wrings my heart.
I'm still thinking about this recording, almost a week after I listened to it, and the same excerpt is stuck in my head, where it's been since I first heard the opera almost 40 years ago - Rangoni's aria, that silky, cynical, insinuating piece that tries to lure Marina and Dimitry into the Jesuit's web. A masterpiece.
actually, this is not the original version. The original version consists of 7 scenes and lasts about 2 and a quarter hours.
You're right but this is the only excellent record available and not arranged by Rimsky-Korsakov.
This is Mussorgsky's second version of 1872 in which he added the third Act, and made many changes and revisions to his first, 1869 version. This recording was the first to use Mussorgsky's own orchestration, but it's no longer the only recording of his own orchestration: several other recordings have appeared since this important recording appeared. But Semkow's conducting was widely criticized at the time for being dull. There is no excuse for performing Rimsky Korsakov's recomposed and re-orchestrated version. Contrary to popular belief, both of Mussorgsky's versions were fully composed and orchestrated and was very well received when it was premiered during the composer's lifetime.
Good voices, but just no. Only Gedda is up to the task. Respect to Talvela for a huge effort, but his phrasing and pronunciation are at best mediocre. After hearing a dosen of Godunovs the only thing I can say: one should go either for generic versions (Vedernikov, Nesterenko) or for Bulgarian interpreters (Christov, Ghiaurov, Ghiuselev). Though this version may be ok for those who don't speak Russian.
The first interest of this version is it respected the writing of Mussorgsky.
Russian operas are as much language and phrasing as music, these two aspects can not be taken separately. This rendition is good musically, but in terms of meaning and impression half of it is not there.
Despite your review it remains the best original version available.
Classical Music, don't forget to add 'imho' ;). And no need to defend it so ferociously, it _is_ a good version just absolutely not the best. The problem is that it's virtually impossible for foreign singers (bar Bulgarians) to achieve correct Russian phrasing and pronunciation, and this distorts their singing. Respect for effort but find good early Russian vinyls or Christov recording from 1962 with Bulgarian choir. 1962 is exceptional both in music and language.
Yes this is the best "Original Version" and Fedoseyev, Vedernikov (Philips) is the best "Definitiv Version" (coming soon). There are very good versions arranged by Rimsky-Korsakov. It is another subject.
Modest Petrowitsch Mussorgsky / Модeст Петрович Мусоргский (1839-1881) - Boris Godunov : Opera in four acts and a prologue. World premiere recording of the original version.
Prologue
Scene One
Nu, shtozh vy ? (00:00)
Na, kovó ty nas pokidáesh, otyéts nash ! (02:26)
Pravoslávnyye ! nye umolím boyárin ! (07:24)
Sláva tebyé, tvortsú vsevyshnemu, nazemli ! (10:48)
Slykhál, shto bózhyi lyúdi govoríli ? (14:53)
Scene Two
Da zdrávstvuet tsar Boris Feódorovich ! (18:31)
Skorbít dusha (23:11)
Sláva, Sláva, Sláva ! (25:43)
Act 1
Scene One
Yeshchó poslyédneye skazáye (27:28)
Odnáko blízok dyen (31:36)
Ty vsyo pisál i snom nye pozabylsa (35:39)
Nye syétuy, brat, shto ráno gréshny svyet pokínul (38:39)
A syn yevó Feódor ? (41:02)
Davnó, chyestnóy, otyéts (42:39)
Zvonyát k zaútrenye.. (48:45)
Scene Two
Poymála ya síza seleznyá (52:20)
Zhenó, mir dómu tvoemú ! (55:50)
Kak vo górode bylo vo Kazáne (58:23)
Shtozh ty nye podtyágivaesh (1:00:44)
Kak, yédet yon (1:02:18)
Nu, otsy moí, kakovó promyshlyáete ? (1:07:20)
Ya grámotny (1:10:02)
Act 2
Gdye ty, zheníkh moy (1:13:55)
Kak komár drová rubíl (1:18:31)
Ekh, máma, mámushka (1:20:26)
Chevó ? Al lyúty zvyer nasyédku vspolokhnúl ? (1:23:00)
A ty, moy syn, chem zányat ? (1:24:52)
Dostíg ya vyshey vlásti (1:27:12)
Shto takóe ? (1:33:08)
Pópinka nash sidyél s mamkámi v svetlítse (1:35:14)
Moy syn, dityá moyó rodnóye ! (1:37:20)
A, preslávny vitiyá (1:39:15)
Konyéshno, tsar, sil’ná tvoyá derzháva (1:41:54)
Vzyat’ myéry, syey zhe chas (1:43:49)
V Ugliche, v soboryé, pred vsyém naródom (1:47:37)
Uf ! tyazheló ! Day dukh perevedú.. (1:49:19)
Act 3
Scene One
Na Víslye lazúrnoy (1:52:58)
Krasótka pánna blagodárna (1:56:09)
Kak tomítel’no i vyálo (1:59:04)
A! Akh? Éto ty, moy otyéts ! (2:02:58)
Krasóyu svoyéyu plení samozvántsa ! (2:07:48)
Plámenem ádskim glazá tvoí zasverkáli (2:10:00)
Scene Two
V pólnoch..v sadú..u fontána (2:12:10)
Tsaryévich ! ..Opyát’ za mnoy ! (2:15:32)
Zloy dyémon ! (2:16:43)
No yésli Dimítriy vnushényem bózhyim (2:20:39)
Polonaise..Váshey strásti ya nye vyéryu, pánye (2:21:33)
Kak tomitel’no, kak dólgo (2:27:35)
My I v khízhinye ubógoy (2:29:57)
Stoy, Marina ! (2:33:48)
O tsaryévich, umolyáyu (2:35:10)
Act 4
Scene One (2:39:34)
Shto, otoshlá obyédnya ? (2:39:35)
Trrr, trrr, trrr, trrr ! (2:44:47)
A-a ! A-a ! Kormílets batyúshka (2:47:34)
Scene two
A-a ! A-a ! … Borís ! (2:49:02)
Sanovítyye boyáre ! (2:54:28)
Shtozh ? poydóm na golosá, boyáre (2:57:41)
Zhal’ , Shúyskovo nyet knyázya (3:00:38)
Ya sózval vas, boyáre (3:05:34)
Smirénny (3:07:50)
Tsaryévicha skoréy ! (3:13:21)
Zvon ! Pogrebál’ ny zvon ! (3:20:51)
Scene Three
Valí syudá ! (3:25:36)
Nye sókol letít po podnébyesyu (3:27:48)
Sóntse, luná pomyérknuli (3:30:29)
Gaydá ! Raskhodílas, razgulyálas (3:31:48)
Domine, Domine, salvum fac (3:34:35)
My, Dimítriy Ivánovich (3:39:12)
Lyéytes, lyéytes slyózy górkiye (3:40:45)
Boris Godunov : Martti Talvela
Grigory (Dimitri) : Nicolai Gedda
Pimen : Leonard Mróz
Marina : Bozéna Kinasz
Rangoni : Andrzej Hiolski
Varlaam : Aage Haugland
Missail : Kazimierz Pustelak
Shuisky : Bohdan Paprocki
Fyodor : Wiera Baniewicz
Xenia : Halina Lukomska
Nurse/Amme/La nourrice : Bozéna Brun-Barańska
Shcheikalov : Andrzej Hiolski
Polish Radio Chorus of Krakow
Chorus master : Tadeusz Dobra….
Boys’ Chorus from Krakow Philharmonic Chorus
Chorus director : Bronislawa Wietrzny
Polish Radio National Symphony Orchestra
Conductor : Jerzy Semkow
Stéréo recording in 1976
Label : EMI
Haec versio “operis magni” Moussorgsky, mihi iam ante permultos annos nota, mihi adhuc maxime placet. Gratias tibi quod iterum hoc loco in lucem edidisti ut liceret id denuo audire totum!
Ego quoque gratias maximas ago. Quod olim audii, etiam nunc placet.
Hans van Kasteel:
"This version of the "great work" Moussorgsky, has all along been known for many years, I still prefer it best. Again I thank you that it is once more where it belongs, that it might be allowed to be heard in its proper light, given birth to as a whole!"
Fidulario Babel:
"I also give it a great thanks. To be heard nothing like this before now."
Ahhhhhhhhhhhhhhhhhh . . . I purchased this version on LP 35 years ago because Talvela sang Boris. I wanted to see this at the Met in January, 1976 when he was performing the role (I might have heard it on the Saturday broadcast), but I couldn't get a ticket. I remember the sensation Talvela caused when he toppled down the steps after his final aria - something he repeated at every performance. Listeners will always quibble about the "best Boris," and whether the opera should only be performed by a Russian cast, but this is an intensely personal matter of taste - and I really like this performance. Thanks so much for posting it.
I’m sorry to say this but I LOVE the second version, that Polish act, Marina!!!! The only thing I like about the original is that it ends with Boris’s death, the way it should be.
That wonderful,special feeling,as I listen to this magnificent piece,is almost impossible to describe!Music always gives the most and leads to the magical world of beauty,spirituality!Yesterday I listened to this opera for the first time,performed by Wiener Philharmoniker with my the most favorite conductor Karajan1970!I am completely fascinated and recommend to everyone!That's why I listened today again !I am thrilled this time with this brilliant,enchanting version!Thanks to all the artists,they enrich and beautify my life💜💜💜💜💜💜💜
thank you for your nice comment :)
This is the first complete recording of this opera that I ever heard. Needless to say, it's close to my heart. Thanks for posting.
2.45.26, what a Great Great Work of Art !!! Oh Lord Creation
We have lost a huge musical treasure as a consequence of Mussorgsky's early death. I'd say that Khovanschina ranks as the equal of Boris, but so many composers had a hand in bringing it to the stage that it's almost written by a committee.
But what a committee: Mussorgsky, Rimsky-Korsakov, Stravinsky, Ravel, Shostakovich! (True, not all together in the same version, but they all played a role in the work's history.)
I’m not 100% certain but I’m pretty sure this is actually technically the 1872 revision that was first performed in 1874. The original 1869 written by Mussorgsky ends with the death of Boris.
this is the best interpretation ever made of this work... bravo Jerzy Semkow
wirklich sehr gute aufnahme! und kompliment an classical music für die informative und sorgfältige präsentation!
Walter Busch -- Thanks! Ich bin damit einverstanden...True, a rare, exquisite vintage echo of The Golden Schwäbisch Age! (Tut mir Leid...Ich meinte 'Schuldaufdeckungsangst…..Ebenmäißgkeitsentzückung- Rindfleischetikettierungsüberwachungsaufgabenübertragungsgesetz!)
Herzlich, Mexikaner Donaudampfschiffahrtsgesellschaftskapitän !
Just listened to this again yesterday and today; what an amazing, powerful work, brilliantly sung. A great pity that Mussorgsky died so young; what prodigies he might have produced - but if you're going to write only one opera in your lifetime, let it be Boris Godunov.
He also wrote KHOVANSHCHINA, which should appeal to anyone who enjoys BORIS.
@@finylvinyl66 I've never listened to "Khovanschina" all the way through, only heard a few excerpts (maybe from a Met broadcast?) . . . but I have a CD of "La Prophete" (which is as grand as French grand opera gets), and that's enough death-of-hundreds-by-burning-cathedral for me! (Seriously, you're probably right, and I should hunt up a performance of the Mussorgsky. Thanks for the suggestion!) But, BTW, what IS it about Gruesome Death in opera? Pushed into vats of boiling oil! Dozens of nuns guillotined! Eck!
@@finylvinyl66 Thanks to your suggestion, I've been watching a 1989 production of Khovanschina by the Vienna State Opera, Abbado conducting . . . sets are somewhat strange, but, WOW, what singing and acting! Just taking a break after Act 3 to say thank you for the suggestion! What a masterpiece (although one wonders where Mussorgsky left off and Rimsky/Stravinsky/Shostakovich took over). Amazing work, nonetheless.
@@finylvinyl66 Just finished watching the video; singing was amazing, acting was excellent, and the staging was peculiar . . . not my cup of tea. But the opera was well worth watching (with English subtitles, for which I was grateful). thanks again for the suggestion!
Astounding result, you think you were there. Mtro V. Gergiev worked also with a team of russian musicologists, on the restoration & recording, at mid 90's, of the same original version by Mussorgsky.
I own this version from the time it was released. Back then, in casettes; now, in CDs. I not quit sure about Semkow, but all in all, this is my preferred choice always, as a whole. I simply love Talvela, even if he's not in his prime. I've preferred some other Dmitry (there were many by that time: Piavkò, Atlantov). I recommend this enthousiastly!
Another reference : Mussorgsky - Boris Godunov 1872 + Presentation (Vedernikov - Century’s recording : V.Fedoseyev) th-cam.com/video/pA-LLi7YZZE/w-d-xo.html
PUEDE QUE LAS NORMAS DE LA COMUNIDAD SEA UNA FORMA DE ESTABLECER UN PENSAMIENTO ÚNICO.
DELEGANDO LA CREACIÓN DE DIOS A UNA SERVIDUMBRE DEL DINERO.
💰🙏
Lo mejor de lo mejor. Una obra maestra. Sin duda.
Прекрасное исполнение ,я впервые услышал великого Николая Гедда.
Но есть одно замечание - это очень сильный,просто ужасный ,акцент многих певцов!Это очень мешает мне воспринимать то ,что они поют.
что есть, то есть
Grande Talvela Grazie !
Grande Talvela!!!
The church bells + orchestra and chorus in the prologue are just breathtaking!
Thank you for making this recording available. I saw Boris performed in Dallas, TX, some years ago, and it has been one of the highlights of my otherwise dull life.
Dinlemeye değer ...
Merveilleux Nicolai Gedda !
It's the 1872 second version, not 1869 version...
Why do I like so much the intro
1872 version🎉
Gracias hermosa música
18.46 it sounds like Philip glass, doesn't it? And why was he called modest?
I hope some day eng subs will be available throughout the opera.
Yes! Have you studied his harmony? It’s breakthrough!
@@luden6794 it's a pity I don't speak Russian! For the sake of korsakov as well!
Thank you very much! A great recording!
This is my first Boris' version. I owned it right after it came out and it's stil my preferred one.
Fantastic Masterpiece!!
I never heard this version. I am (very positively) shocked!!! Thank you so much for posting it
:-)
First time listening - very good.. strange way to end it though.
jerzy Semkow był jednym z najlepszych dyrygentów w tamtych latach
Is that the 1869 version???Thanks a lot.
Yes, the original version by Mussorgsky and not arranged by Rimsky-Korsakov.
Actually, Mussorgsky wrote two versions of Boris Godunov. This is the 1872 version, the 1869 does not include the Polish act, and the last scene is different as well.
We publish the definitive version (1872) today :-)
This version is the "best of both worlds" . It has teh St. Basils scene from the 1869 version, (which was tragically cut from the 1872 version) but also has teh final scene that only existed in the 1872 version. My guess is that for other conflcts, they went with the 1872, for the most material. Thanks. This is great.
Thank you.
Muy bueno
Thank you. Masterpiece!
Gedda is the only one who demonstrates an impeccable Russian pronunciation. That was his native tongue, though. Talvela's i acceptable although not idiomatic. The Poles' Russian pronunciation is akin to their natural hatred to Russia and everything that is Russian. The Poles should not have been engaged to perform this opera.
Gedda jest jedyny w tym nagraniu, który może się pochwalić nienaganną wymową rosyjską. Rosyjski był zrestą jego językeim ojczystym. Talvela śpiewa poprawnie, ale widać. że śpiewa w języku obcym. Wymowa zaś Polaków odbija ich wyssaną z mlekiem matki nienawiść do Rosji i wszystkiego co rosyjskie. Nie należało zapraszać Polaków do wykonywania tej opery.
Music is always national. Boris Godunov is Russian, Aida is Italian, Lohengrin is German, etc. No Marina in this version? Where do you think you eyes are (and ears, too)? The so-called "Polish Act" begins at 01.52 and ends at 02.38 of the recording posted here. Marrina is sung by the Poslish soprano Bożena Kinasz. Hahahaha.
antoni aspolski Actually Nikolai Gedda was Swedish.
Actually he was Swedish by his citizenship only. He grew up in a Russian family of which he was an adopted son. His native tongue was actually Russian.
Mussorgsky - Boris Godunov/Definitive Version 1972 (Vedernikov - Century’s recording : V.Fedoseyev) th-cam.com/video/pA-LLi7YZZE/w-d-xo.html
We love Rssians, but we hate soviets. Every Russian should feel the same.
CUANDO SE INTERRUMPE EL ARTE CON PUBLICIDAD COMERCIAL.
SE ESTÁ MATANDO LA DIVINIDAD DEL SER.
💰🙏
de acuerdo... una parodia maldita
I love this opera.
Amazing . . . absolutely amazing. I just finished listening to this, the first time I've heard it in at least a dozen years. What a treat. I always read the comments when I watch one of these videos, and it's interesting how opinions vary - but, of course, music is such a personal experience. As a unilingual American, I'm in no position to comment on Russian pronunciation, nor, as a non-musician who has heard no other recording of Boris, can I compare this version to any other. I do really like the idea of sticking to Mussorgsky's original score, and I appreciate your ringing defense of this recording. (And it does strike me as really unfair to criticize the fact that the cast, conductor and orchestra were almost exclusively Polish. Music is - or should be - a universal language.)
Thank you for your comment :-)
I first heard Boris circa 1952 with Christoff as Boris and Gedda (his first recording) as Dmitri. Blew my socks off. I desperately wanted to hear Mussorgsky's "original." Got a piano score from the UC Library and dragooned musically literate friends into playing it for me. This recording is as close as one is likely to get. I bought this when it came out circa 1976. Crushed to discover I preferred Rimsky-Korsakov version. Listening to it now for the first time in years, Rimsky-Korsakov having faded into dim memory. Reaction similar to my first listening close to 60 years ago. In the guarded language of professional reviewers: "Holy Shit." On '69 vs. '72 versions: my recollection is that the main difference is the Polish sub-plot. My friend "Ralphie the neo-classicist," who turned me on to Boris in the first place (he taught Russian lit at U Toronto until he retired) said Christoff's pronunciation was a bit Bulgarian. Ralphie isn't available to critique Talvela for me, but given his voice, he could as well have sung his part in Italian the way Pinza did and I would have been happy.
My one trip to the Met was during the 1975-76 season when Talvela sang the title role in "Boris." Alas, my schedule didn't mesh with Talvela's, so I never heard him.
But speaking of Talvela, have you seen the YT video of his scene with the great Josef Greindl in "Don Carlos," with Greindl as Filipo and Talvela as the Grand Inquisitor? Magnificent and hair-raising! Talvela's makeup and acting in that scene gave me the chills!
If I can find it, i'll watch it. (I think I heard it and that was pretty special. My first encounter with Talvela was the Verdi Requien with Luciano, Joanie , Marilyn and Zubie. I'd never heard Luciano before either. @@richardcleveland8549
Talvela und Greindl: Your advance billing was right on target, although a bit strange in German; worth watching with the sound off. What struck me in my first encounter in the Requiem was his even tone through his entire range, and his agility. The Oro supplex et acclinis, cor contritum quasi cinis is sung with the agility of a tenor. Never before heard of Greindl; great but probably confined to German houses
My biggest problem with this recording is the consistently sluggish tempi. Much, much too slow. Recordings of Boris normally needed 3 LPs -- this one had 4.
I love Talvela and I gave this a listen almost exclusively for him, and all in all I didn't love this recording. Reading the comments people seem positive on Gedda in this this, I actually found him a little too typical "Hi I am an operatic tenor" sounding as dmitry and not a ton of character, well sung, not well acted. This is my favorite opera so it's good to spend time with an old friend, but this isn't the best version out there.
It's the best "original" version available. If you know of another offer it (we are not talking about the version revisited by Rimsky Korsakov).
There is also the definitive version by Mussorgsky.
Mussorgsky - Boris Godunov/Definitive Version 1972 (Vedernikov - Century’s recording : V.Fedoseyev) th-cam.com/video/pA-LLi7YZZE/w-d-xo.html
@@classicalmusicreference But this isn't at all the "original" version. The Semkow recording is the 1872 revision, but has the St. Basil Scene from the 1869 version interpolated, which Mussorgsky had (bafflingly, IMO) cut from his reworking of the opera. The original 1869 version is much shorter, as it is only 7 scenes and lacks the entire Polish Act and the Kromy Forest scene. Additionally, the music is quite different in several places, especially in the Cabinet scene, where the Boris Monologue was noticeably reworked in 1872 to be a much more coherent set piece.
While I adore the Semkow set because it was my first Boris with the "authentic" orchestrations by Mussorgsky, it cannot be said to be either the "original" conception, nor a faithful recording of the 1872 version, due to the inclusion of the St. Basil scene (thus requiring a modified version of the Kromy Forest scene that edits out the Holy Fool melodrama with the street urchins). For actual authentic recordings of the 1869 AND 1872 versions, there is the Gergiev combined box set with the Kirov Opera. Of course, Gergiev is now *persona non grata* in many parts...
This version has the finest orchestral performance as well as a superior chorus. The Polonaise is authoritative. Semkow's conducting is brilliant. I don;t care about Russian pronunciation. I care about the music and this performance is tops, except for Chaliapin's Clock Scene.
Thank you for defending it.
Sorry to say this but if you don't care about language in Russian operas, you have zero understanding of Russian operas. This is like not caring about proper legato in belcanto. There are much better versions around - Mussorgsky with Vedernikov for example. This version is indeed just 'half of it'.
The day that there will be a version that completes the other half she will be in this channel. For the moment, maybe, she doesn't exist. What do you think of the language and the phrasing of this version ? The link : www.amazon.fr/Moussorgsky-Godounov-Modest-Petrovitch-
The music first, above language. The vocalization here is superior. The chorus is superior. The conductor's interpretation is vastly superior, particularly in the Coronation and Final scenes. Gedda outdoes his competition, and Talevela is brilliant. No one I know speaks Russian. So we don't care. We read the English-language libretto. And that's that. Today's audiences don't speak any of the languages operas use. They just love the music. People who demand understanding of the language are like obsessive-compulsives who demand that the Latin in Carmina Burana be pronounced clearly when no one in the audience speaks Latin. Ridiculous.
Exactly, the work done here is very serious, very good quality and with a lot of sincerity. We feel it.
'S mòr an earbsa a tha air.