[Met Performance] CID:91220
Boris Godunov {73} Matinee ed. Metropolitan Opera House: 11/20/1925.

(Review)


Metropolitan Opera House
November 20, 1925 Matinee
In Italian


BORIS GODUNOV {73}
Mussorgsky-Mussorgsky

Boris Godunov...........Fyodor Chaliapin
Prince Shuisky..........Angelo Badà
Pimen...................Léon Rothier
Grigory.................Mario Chamlee
Marina..................Marion Telva
Varlaam.................Paolo Ananian
Simpleton...............Giordano Paltrinieri
Nikitich................William Gustafson
Shchelkalov.............Lawrence Tibbett
Innkeeper...............Henriette Wakefield
Missail.................Max Altglass
Xenia...................Ellen Dalossy
Feodor..................Raymonde Delaunois
Nurse...................Kathleen Howard
Lavitsky................Arnold Gabor
Chernikovsky............Vincenzo Reschiglian

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].

Boris Godunov received four performances this season.

Review of Oscar Thompson in Musical America

Chaliapin and a Benefit 'Boris'

A benefit performance for the Southern Women's Educational Alliance brought Feodor Chaliapin back to the Metropolitan in advance of his first regularly scheduled appearance and, instead of the "Spirit that Denies" in Boito's "Mefistofele," it was as the soul-seared usurper of "Boris Godunoff" that he held in thrall his first operatic audience. His Boris had all its accustomed thrilling power, both in voice and in a characterization that utterly transcends opera. Otherwise, there is nothing that need be said of the superb study which he has contrived to take to the far corners of America, as well as presenting in New York and Chicago. Enthusiasm ran high after each of the three episodes in which Boris is the central figure.

Weakly conducted by Gennaro Papi, the performance had otherwise the familiar merits and demerits of a sagging production that would have been retired to limbo several seasons ago but for the towering Russian's arrival. Marion Telva sang particularly well as Marina and Mario Chamlee was a Dimitri superior to the usual run of monkish pretenders. Individual credit is due most of the individual members of the large cast that also included Lawrence Tibbett, Paolo Ananian, Kathleen Howard, Raymonde Delaunois, Ellen Dalossy, Angelo Bada, Leon Rothier, Max Altglass, Henriette Wakefield, Giordano Paltrinieri, William Gustafson, Arnold Gabor, and Vincenzo Reschiglian.

But "Boris" becomes merely a vehicle for the starring of Chaliapin - with those scenes in which he does not appear tolerated rather than enjoyed - when its music is so Italianized and so vitiated as it has been at the performances of its last several seasons.



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