[Met Performance] CID:134370
Boris Godunov {96} Matinee ed. Metropolitan Opera House: 12/30/1942.
(Review)
Metropolitan Opera House
December 30, 1942 Matinee
In Italian
BORIS GODUNOV {96}
Mussorgsky-Mussorgsky
Boris Godunov...........Ezio Pinza
Prince Shuisky..........Alessio De Paolis
Pimen...................Nicola Moscona
Grigory.................René Maison
Marina..................Kerstin Thorborg
Rangoni.................Leonard Warren
Varlaam.................Salvatore Baccaloni
Simpleton...............John Garris
Nikitich................John Gurney
Shchelkalov.............Mack Harrell
Innkeeper...............Doris Doe
Missail.................John Dudley
Officer.................Osie Hawkins
Xenia...................Marita Farell
Feodor..................Irra Petina
Nurse...................Anna Kaskas
Lavitsky................Lansing Hatfield
Chernikovsky............Lorenzo Alvary
Peasant.................Maxine Stellman
Peasant.................Helen Olheim
Peasant.................Lodovico Oliviero
Peasant.................Wilfred Engelman
Boyar in Attendance.....Emery Darcy
Conductor...............George Szell
Director................Lothar Wallerstein
Set designer............Alexander Golovine
Set designer............Alexander Benois
Costume designer........Ivan Bilibine
Choreographer...........Laurent Novikoff
Translation by M.Delines, E. Palermi, G. Pardo
Boris Godunov received six performances this season.
[Benois designed only the Polish Scene.]
Review of Virgil Thomson in the New York Herald Tribune
Unity, Variety and Emphasis
Moussorgsky's "Boris Godunov" was restored to repertory at the Metropolitan Opera House yesterday afternoon in a performance remarkable for the sumptuousness of its musical ensemble. It was full of fine singing by soloists and chorus from beginning to end, and the orchestral playing was both delicately balanced and richly colored. The commanding officer was George Szell. And what an admirable commander he is, full of fire and understanding and inspiring confidence! His musicians played beautifully for him; and the cast - a brilliant one, as you may read above - sang with fervor and moved about with style.
The most telling single piece of work was that of Mr. Baccaloni, who played one of the beggars. This great singing actor and comedian has not sung so nobly nor made his dramatic points so powerfully since his début two years ago in "Don Pasquale." Mr. Pinza's performance was a handsome one, too, in every way. And the singing of Mr. Moscona and of Mr. Warren was notable for its orotund beauty on an afternoon when everybody seemed to be in form. The choral work, too, though not so resonant as Russian music needs, was vigorous and clear and forthright; and the crowd movements were skillfully directed and interesting to watch.
All these excellences, and many more that there is neither time nor space to mention, were minor matters compared to the splendor with which Mr. Szell unrolled Pushkin's somber historical drama and Moussorgsky's rich musical score. The spectacle moved with grandeur, like a river. The music spoke with dignity and with animation. The characters lived, had feelings, sang words. That the words were Italian did not seem shocking at all, so great was the conviction behind them. That the play is a little disjointed, like most historical dramas, was hardly noticeable, so sweeping was the musical progress of it and so incisive the expression.
Few dramatico-musical works, of course, are that sweeping and incisive. "Boris Godunov" has more pageantry, more drama, more atmosphere and more psychological acuity than any other opera in the world, save about five. Moussorgsky had theatrical and musical imagination. No scene or character is unconvincing, no musical phrase banal. Every measure says something and says it clearly. And every scene says something different. The whole is unified by thematic devices, as well as by its spiritual integrity. But it is also immensely varied. There are women's choruses, men's choruses, mixed choruses, children, old men, peasants, royalty, drunks, beggars, policemen, priests, wives, senators, conspirators, courtesans, hostesses, Jesuits, Polish aristocrats and bodyguards. They all sing; everybody has a number or takes part in one. The occasions for diversified musical expression are unlimited.
Moussorgsky profited by them all, adjusting the depth of his expression to the significance of each passage in its relation to the whole. No chance is missed to enrich the story, but neither is any minor one overplayed. There is no hurry, no delay, no monotony, and no false emphasis. The progress from beginning to end is as majestic as the incidents of it are surprising and sumptuous. Yesterday's musical and dramatic reading revealed all that. It was worthy of a great opera and a great house.