[Met Performance] CID:85470
Boris Godunov {61} Metropolitan Opera House: 12/12/1923.

(Review)


Metropolitan Opera House
December 12, 1923
In Italian


BORIS GODUNOV {61}
Mussorgsky--Mussorgsky

Boris Godunov...........Fyodor Chaliapin
Prince Shuisky..........Angelo Bad
Pimen...................Lon Rothier
Grigory.................Rafaelo Daz
Marina..................Margarete Matzenauer
Varlaam.................Paolo Ananian
Simpleton...............Giordano Paltrinieri
Nikitich................Louis D'Angelo
Shchelkalov.............Lawrence Tibbett
Innkeeper...............Marie Mattfeld
Missail.................Pietro Audisio
Xenia...................Ellen Dalossy
Feodor..................Raymonde Delaunois
Nurse...................Flora Perini
Lavitsky................Arnold Gabor
Chernikovsky............Vincenzo Reschiglian
Boyar in Attendance.....Raymonde Delaunois

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

[Chaliapin always sang Boris in Russian.]


Review signed P. C. R. in Musical America

'Boris' Again

With Chaliapin at his very best, the performance of "Boris Godounoff" on Wednesday evening held much to move the great audience to applause and cheers. The Russian bass seemed to inspire the numerous company engaged in the work, and the result was a fine presentation of the magnificent work. The orchestra's contribution was much improved, the chorus sang with spirit, although there were deficiencies in the Coronation scene and some unsteadiness in the Forest of Kromy music. In part of this last, however, there was superb singing, and for a time at least the chorus seemed restored to its rightful place in the operatic scheme.

However, when Chaliapin was on the stage, the tragic figure of Boris was the be-all and end-all of the opera. Once more it was a triumph for this towering artist, and the work of others in the cast was more remarkable in as much as they took full value of their vital moments. The Schuisky of Angelo Bada was a capital performance. Margaret Matzenauer gave her customary picture of Marina and sang with her usual power and richness of voice. In Dmitri, Rafaelo Diaz has found another rle that seems to call for that distinctive vocal color which he can give it. Lon Rothier sang the part of Pimen with dignity and sonority, and other parts were admirably taken by Raymonde Delaunois, Ellen Dalossy, Flora Perini, Lawrence Tibbett, Paolo Ananian, Pietro Audisio, Marie Mattfeld, Giordano Paltrinieri, Louis D'Angelo, Arnold Gabor and Vincenzo Reschiglian. Gennaro Papi was at the conductor's desk.



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