[Met Performance] CID:85230
Boris Godunov {60} Matinee ed. Metropolitan Opera House: 11/24/1923.

(Debut: Lawrence Tibbett
Review)


Metropolitan Opera House
November 24, 1923 Matinee
In Italian


BORIS GODUNOV {60}
Mussorgsky-Mussorgsky

Boris Godunov...........Fyodor Chaliapin
Prince Shuisky..........Angelo Badà
Pimen...................José Mardones
Grigory.................Mario Chamlee
Marina..................Margarete Matzenauer
Varlaam.................Paolo Ananian
Simpleton...............Max Bloch
Nikitich................Louis D'Angelo
Shchelkalov.............Millo Picco
Innkeeper...............Henriette Wakefield
Missail.................Pietro Audisio
Xenia...................Grace Anthony
Feodor..................Raymonde Delaunois
Nurse...................Kathleen Howard
Lavitsky................Lawrence Tibbett [Debut]
Chernikovsky............Vincenzo Reschiglian
Boyar in Attendance.....Giordano Paltrinieri

Conductor...............Gennaro Papi

Orchestration by Nicolai Rimsky-Korsakov

Director................Armando Agnini
Set designer............Alexander Golovine
Set designer............Alexander Benois
Costume designer........Ivan Bilibine
Translation by M.Delines, E. Palermi, G. Pardo


Synopsis of Scenes
Act I, Scene 1: The wall of Novodievitchi Convent, in the Great Environs of Moscow
Act I, Scene 2: A cell in the Convent of Miracles
Act I, Scene 3: The square between the two Cathedrals of the Assumption and of the Archangels

Act II, Scene 1: An inn on the frontier of Lithuania
Act II, Scene 2: Apartments of the Czar in the Kremlin at Moscow
Act II, Scene 3: Garden of the Castle of Michek

Act III, Scene 1: The forest of Kromy
Act III, Scene 2: Hall of the Duma in the Kremlin

[Benois designed only the Polish Scene.
Chaliapin always sang Boris in Russian.]


Review of W. J. Henderson in the New York Sun:

At the Metropolitan Opera House yesterday that extraordinary exponent of Russian art, Feodor Chaliapin, made one of his sporadic appearances with the company, singing, talking and acting the name part in Moussorgsky's opera "Boris Godunov." The occasion was plainly one of unusual significance in the public mind, which was proved by the crowded condition of the house. The performance had all the peculiar inequalities and defects of the familiar representations of this work at the Metropolitan, but so completely was it dominated by the marvelous spell of Mr. Chaliapin's art and personality that the entire cast rose to an unusual level of earnestness, and the general result was a strong dramatic impression.

Mr. Chaliapin's Boris has been described so often that it would be superfluous to enter into details about it. The artist's interpretative powers are unique. His vocal methods are his own. Sometimes he stops singing and speaks his lines like an actor. Despite this he conveys the impression of remaining in the operatic picture, At all times he is intense. There is a heartrending poignancy in his expression of the remorse of the tortured Czar. No words can paint his delineation of the character. It long has been and it remains one of the masterpieces of the lyric stage.

Mario Chamlee was the Dimitri yesterday. It is not a great part, but it affords some opportunities to an artist with a good voice and technical skill. Of these Mr. Chamlee made excellent use. Mme. Matzenauer furnished the fleeting glimpse of Marina and quite filled the picture. She wore royal robes and a gorgeous headdress of glittering gems.



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