Read what our audiences have to say about Boris Godunov
Review from Michael
Mussorgsky is perhaps not an apt candidate to have his operas translated into English. Somehow the language sounded prissy; when I want dark Russian vowel sounds. Is that the fault of the translation, or of specific singers? Surely there should be space to allow for the dark nature of the language to be expressed. English is sufficiently flexible I feel to avoid sounding like Jane Austin. The delivery on the night I attended was very 'received pronounciation'.
This was the original seven scene version of the opera. Oddly structured in that Boris is largely silent in the first half of the opera and it ended with his death, rather than as in other versions allowing the final word to The People. The production was as fluid as could be, allowing the piece to be played seamlessly, not even an interval. Two hours and 10 minutes; merely one long act from a Wagner opera. This version provides focus and concentration. The piece does remind me of Wagner in the feeling of epic scale, the blend of public and private events and the way in which the soloist vocal writing is laid out as a long series of monologues with next to no duetting or ensemble stretches.
We get the by now anticipated approaches to production: namely, one set throughout and updating of the timeframe. Here we seem to be in late pre-revolutionary Russia, it works perfectly well, the set seemed sometimes to be a barn, sometimes a courtyard or a chamber. The uncluttered stage allowed effective blocking of the large lustrous chorus who together with the orchestra provided the thrills of the evening. The production brought out the mordant humour of the peasants who complain in sly terms about their betters and become the embodiment of suffering, dictator-hungry Russia that I believe Mussorgsky intended.
Pimen held the stage in a way Boris could not. The stagecraft of Piman was evident even when he stood stock still, whilst Boris was often a diminished presence. Though, the production did not help him. Where the feared, evil tyrant kindly gave up his throne to accommodate the aged Pimen who had arrived to unsettle him even more than he unsettled himself. Then, Boris was over emollient towards the double dealing Prince Shuisky. More a domestic scale tyrant really; though he was entirely kindly to his family.
But the major problem was that the singer was unequal to the task; as though Dr Falke had strayed in from Fledermaus. The death scene was mainly in parlando, not because the singer had no voice, but seemed to think this was the appropriate approach! This was all a world away from such as Christoff who made a stupendous impression, with the majesty and pathos which were entirely missing from the singer confronting us.
I suppose singers sit in the shadow of former great exponents of the role; but the lightweight feel of this singer robbed the opera of its focal point. I suppose it prevents the piece being hi-jacked as a star vehicle, but an important element of the piece was basically missing.
But what a symphony we enjoyed, the orchestral writing is still startling and was superbly played. The memorable elements then, the players and the massed chorus, the lighting, the fluid approach. Much to enjoy; but....darken those vowels folks; please.
Review from David
Re-Boris Gudunov and the decision to perform operas without intervals. May I ask you to heed the advice given to cricket captains when thinking of putting the opposition into bat - that is to think long and hard and then don't do it.
Over the years I have sat through many and varied interpretations and, while not every idea has quite succeeded, I have always appreciated the degree of creative thought that has gone into them - with the possible exception of the food fight in Don Giovanni. I can even see why you were tempted to perform this version of Boris straight through. Sometimes, however, there are considerations that should supersede artistic fancy.
The interval break/discussion is an integral part of the theatre experience. It might also have helped, in this case, those who were new to the work to understand better what was going on. I was deprived of my usual chance to pontificate just when my companions might have actually been willing to listen.
May the gods of bad backs, stiff knees and dodgy bladders descend upon any of you who think of doing this again. The ravages of time will take their toll upon you too.
Review from Richard
Boris Godunov. This was the first time I had encountered Boris in any of its forms. The negative press reviews seemed to make the mistake iof comparing it with what ENO might have done rather than what they did do. Excellent singing across the board and what a remarkable figure we have in Anna Grevelius who can go from being the supremely attractive heart throb of Barber of Seville to an utterly convincing embryonic Tsar. Peter Rose was good but lacked something sinister. If you didn't have the synopsis in front of you you would not have realised how nasty he was supposed to be.
This production should return but it seriously needs an interval. On Thu 13th it started almost exactly on time at 7.30 but didn't finish until almost 9.55pm. Now, if you don't know the plot or are familiar with another version - or if you are a normal human being who needs to move about occasionally - you need an interval!
Well done ENO for giving us this version.
