Mussorgsky: Boris Godounov

Boris Godunov, opera (Rimsky-Korsakov edition)
Composed by Modest Mussorgsky
with Jean Claverie, Julien Giovannetti, Rene Herent, Hughes Cuenod, Andre Pernet
Conducted by Ernest Ansermet

Mussorgsky: Boris Godounov,Modest Mussorgsky,Ernest Ansermet,Andre Pernet,Hughes Cuénod,Jean Claverie,Julien Giovannetti,René Herent,Malibran [C.D.R.G.],Classical,Classical Music,Opera,Opera / Operetta / Oratorio,Russian Romantic Opera

Modest Moussorgsky: Boris Godounov (1869 Version & 1872 Version) - Valery Gergiev / Kirov Opera & Orchestra

Average customer rating:

Boris...Boris?
Had my copy
Outstanding performance(s) by Gergiev and his forces
One of the best from russia
beautiful...

Modest Moussorgsky: Boris Godounov (1869 Version & 1872 Version) - Valery Gergiev / Kirov Opera & Orchestra
Andrei Karabanov , Grigory Karasev , Yuri Laptev , Olga Borodina , Vladimir Galusin , and Kirov Opera & Orchestra
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DI3M
Release Date: 1999-01-12

Tracks:

Boris Godounov: Part 1, Scene 1: Courtyard In The Novodevichy Monastery - Orchestral Introduction - Well What Are You Waiting For?
Boris Godounov: Part 1, Scene 1 - For Whom Dost Thou Forsake Us?
Boris Godounov: Part 1, Scene 1 - People Of The Orthodox Faith
Boris Godounov: Part 1, Scene 1 - Glory To Thee, Our Lord
Boris Godounov: Part 1, Scene 2 Square In Moscow Kremlin (Coronation Scene) - Long Live Tsar Boris Feodorovich
Boris Godounov: Part 2, Scene 2 - My Soul Is Sad
Boris Godounov: Part 1, Scene 2 - Glory! Glory! Glory!
Boris Godounov: Part 2, Scene 1: Cell In The Chudov Monastery - Just One More Final Tale
Boris Godounov: Part 2, Scene 1 - Lord, Our Heavenly Father - That Same Dream Again
Boris Godounov: Part 2, Scene 1 - You Have Gone On Writing
Boris Godounov: Part 2, Scene 1 - Holy Father, For A Long Time
Boris Godounov: Part 2, Scene 1 - Boris! Boris!
Boris Godounov: Part 2, Scene 2: An Inn At The Lithuanian Frontier - Can I Bring You Anything, Reverant Fathers?
Boris Godounov: Part 2, Scene 2 - It All Happened In The Town Of Kazan
Boris Godounov: Part 2, Scene 2 Why Don't You Join In The Singing?
Boris Godounov: Part 2, Scene 2 - There He Goes - What Sort Of People Are You?
Boris Godounov: Part 2, Scene 2 - I Can Read

Tracks:

Boris Godounov: Part 3: Scene 1: The Tsar's Apartments In The Moscow Kremlin 'Terem' - My Dear Husband
Boris Godounov: Part 3: - That's Enough Now, My Precious Tsarevich
Boris Godounov: Part 3: I Have Achieved Supreme Power
Boris Godounov: Part 3: Yesterday Evening, Pushkin's Servant. . .
Boris Godounov: Part 3: No! Wait, Wait, Shuisky
Boris Godounov: Part 3: It Is Not Execution That I Fear
Boris Godounov: Part 4, Scene 1 - A Square In Front Of The Cathedral Of St. Basil - What? Is Mass Over?
Boris Godounov: Part 4, Scene 1: Trrr, Trrr, Tin Hat - The Moon Is On It's Travels
Boris Godounov: Part 4, Scene 1 - What Is He Weeping About?
Boris Godounov: Part 4, Scene 2: Assembly-Hall In The Moscow Kremlin (Death Of Boris) - Boyars Of Noble Rank
Boris Godounov: Part 4, Scene 2 - What? Let Us Vote, Boyars
Boris Godounov: Part 4, Scene 2 - It's A Pity That Prince Shuisky Isn't Here
Boris Godounov: Part 4, Scene 2: Get Away . . . Get Away!
Boris Godounov: Part 4, Scene 2 - A Humble Monk
Boris Godounov: Part 4, Scene 2 - Once In A Deep Sleep
Boris Godounov: Part 4, Scene 2 - Leave Us! All Of You, Go!
Boris Godounov: Part 4, Scene 2 - O Lord! Look Down

Tracks:

Boris Godounov: Prologue, Scene 1: A Courtyard In The Novodevichy Monastery - Well, What Are You Waiting For?
Boris Godounov: Prologue, Scene 1: For Whom Dost Thou Forsake Us?
Boris Godounov: Prologue, Scene 1: People Of The Orthodox Faith
Boris Godounov: Prologue, Scene 1: Glory To Thee, Our Lord
Boris Godounov: Prologue, Scene 2: A Square In The Moscow Kremlin (Coronation Scene) - Long Live Tsar Boris Feodorovich
Boris Godounov: Prologue, Scene 2 : My Soul Is Sad
Boris Godounov: Prologue, Scene 2 : Glory! Glory! Glory!
Boris Godounov: Act 1, Scene 1: A Cell In The Chudov Monastery - Just One More Final Tale
Boris Godounov: Act 1, Scene 1 : Lord, Our Heavenly Father - That Same Dream Again
Boris Godounov: Act 1, Scene 1: You Have Gone On Writing
Boris Godounov: Act 1, Scene 1: Holy Father, For A Long Time
Boris Godounov: Act 1, Scene 1: It Is The Bell For Matins
Boris Godounov: Act 1, Scene 2: An Inn On The Lithuanian Frontier - I Caught A Grey Drake
Boris Godounov: Act 1, Scene 2: It All Happened In The Town Of Kazan
Boris Godounov: Act 1, Scene 2: Why Don't You Join In The Singing?
Boris Godounov: Act 1, Scene 2: There He Goes - What Sort Of People Are You?
Boris Godounov: Act 1, Scene 2: I Can Read

Tracks:

Boris Godounov: Act 2: The Tsar's Apartments In The Moscow Kremlin (Terem) - Where Are You, My Dear Husband?
Boris Godounov: Act 2: Ah! That's Enough Now
Boris Godounov: Act 2 : So The Gnat Was Chopping Some Firewood
Boris Godounov: Act 2 : Ah, Nurse, Nanny
Boris Godounov: Act 2 : Ah! - What? Has A Wild Beast. . .
Boris Godounov: Act 2 : I Have Achieved Supreme Power
Boris Godounov: Act 2 : How Heavily Weighs The Right Hand Of The Fearful Judge
Boris Godounov: Act 2 : Ah, Shoo!
Boris Godounov: Act 2 : Our Little Parrot Was Sitting
Boris Godounov: Act 2 : My Son, My Own Dear Child!
Boris Godounov: Act 2 : Ah, The Most Illustrious Orator
Boris Godounov: Act 2 : Take Measures Immediately
Boris Godounov: Act 2 : At The Cathedral In Uglich
Boris Godounov: Act 3, Scene 1: Marina Mnishek's Dressing Room At The Castle Of Sandomir - On The Azure Vistula
Boris Godounov: Act 3, Scene 1: Enough!
Boris Godounov: Act 3, Scene 1 : Ruzya, I Do Not Need You Today - How Tediously. . .
Boris Godounov: Act 3, Scene 1 : Ah! It's You, My Father!
Boris Godounov: Act 3, Scene 1 : Captivate The Pretender With Your Beauty!
Boris Godounov: Act 3, Scene 1 : Your Eyes Have Started To Sparkle With A Hellish Flame
Boris Godounov: Act 3, Scene 2: The Garden Of The Mnishek Castle At Sandomir - At Midnight. . . In The Garden. . . Near The Fountain
Boris Godounov: Act 3, Scene 2 : Tsarevich!
Boris Godounov: Act 3, Scene 2 : A Humble, Sinful Pilgrim
Boris Godounov: Act 3, Scene 2 : Tsarevich, Conceal Yourself!
Boris Godounov: Act 3, Scene 2 : That Crafty Jesuit
Boris Godounov: Act 3, Scene 2 : The WIfe Of That Toothless Debauchee
Boris Godounov: Act 3, Scene 2 : It Is She! Marina!
Boris Godounov: Act 3, Scene 2 : But It Is Not For Amorous Conversations
Boris Godounov: Act 3, Scene 2 : You Alone, Marina I Worship
Boris Godounov: Act 3, Scene 2 : Leaders From All Corners Of Russia
Boris Godounov: Act 3, Scene 2 : O, Tsarevich, I Beg You, Do Nor Curse Me

Tracks:

Boris Godounov: Act 4, Scene 1: Assembly-Hall In The Moscow Kremlin (Death of Boris) - Boyars Of Noble Rank
Boris Godounov: Act 4, Scene 1 : What? Let Us Vote, Boyars
Boris Godounov: Act 4, Scene 1 : It's A Pity That Prince Shuisky Isn't Here
Boris Godounov: Act 4, Scene 1 : Get Away. . . Get Away!
Boris Godounov: Act 4, Scene 1 : A Humble Monk
Boris Godounov: Act 4, Scene 1 : Once In A Deep Sleep
Boris Godounov: Act 4, Scene 1 : Leave Us! All Of You, Go!
Boris Godounov: Act 4, Scene 1 : O Lord! Look Down
Boris Godounov: Act 4, Scene 2: A Forest Glade Near Kromy (Revolution Scene) - Over Here! Sit Him Down On The Stump!
Boris Godounov: Act 4, Scene 2 : Trrr, Trrr, Tin Hat! - The Moon Is On Its Travels
Boris Godounov: Act 4, Scene 2 : The Sun And The Moon Have Faded
Boris Godounov: Act 4, Scene 2 : Hurrah! Daring Boldness Has Broken Free
Boris Godounov: Act 4, Scene 2 : Domine, Salvum Fac Regem
Boris Godounov: Act 4, Scene 2 : Glory To You, Tsarevich!
Boris Godounov: Act 4, Scene 2 : We, Dmitry Ivanovich
Boris Godounov: Act 4, Scene 2 : Flow, Flow Bitter Tears!

Amazon.com essential recording

Besides being one of the best modern recordings of this masterpiece about a Macbeth-like czar who murders his way to the top, this five-disc set (sold for the cost of three) presents the opera both in its original 1869 version and in its 1872 revision, side by side. The former is clearly not finished: it needs more scenes (key characters have little stage time), and the ones that do exist don't always make their full dramatic impact. However, there's much brilliance even in nascent form, particularly with the composer's discreet breaks with traditional, functional harmony a full 30 years before Debussy. Even passages that sound inept do so eloquently, thanks to Valery Gergiev's seemingly telepathic rapport with Moussorgsky's psychologically penetrating dramaturgy. Key roles are often double cast, which gives vocal and interpretive variety and shows off just how rich the Kirov Opera is in bass voices. I prefer the earlier Boris (the lighter-voiced, more nuanced Nikolai Putilin) to the beefier Vladimir Vaneev in the later version. The later Grigory, Vladimir Galusin, shouts a bit but in a text-attentive way; besides, his character (the pretend czar) is likely to go for bombast. Borodina's Marina is relentlessly imperious and not sufficiently seductive--the one minor problem in this fine, studio-recorded set that signals a great sonic improvement over Kirov's more fatiguing outings in the Mariinsky Theatre. --David Patrick Stearns

Customer Reviews:

Boris...Boris?.......2006-12-23

3 versions, what for! Bad versions, bad singers. You have Fedoseyev (original), Ermler and Melik Pashayev...It sounds much better. Great singers and orchestration

Martin

Had my copy.......2006-01-13

For sale for all of 10 minutes. Changed my mind, decided to keep it for the conducting and chorus, and the libretto is slighly better translated than Abbado's Sony release.
But for casting, I prefer the Sony/Abbado. Especially the Boris.
Hey I don't expect this review to be helpful, get them both and decide for youself.
Oh btw the 1869(2 cds) version is not necessary to hear. Have no idea why Gergiev would record it, as the 1872(3 cds) is the definitive complete version.
Also forget all this chat over the Rimsky editing, vs the REAL ORIGINAL and stuff. Makes no difference. What we are all after in this spectatular opera is the casting, chorus, conducting. Who cares which complete version it is, as long as it's done in a superior fashion.

Outstanding performance(s) by Gergiev and his forces.......2003-11-02

Every so often, a recording comes along in which the conductor's conception of an opera sweeps even defective or unsatisfying performances by solo principals before it. Such was the case of the Tullio Serafin "Ballo in Maschera," the Toscanini "Aida," Furtwangler's "Der Freischutz," Charles Dutoit's "Les Troyens," and this recording, which is actually two complete performances for the cost of one. Philips, then, has scored twice with such a gem - both this set and the 1980 Karajan "Falstaff" were recorded for that label.

Gergiev's "Boris"(es) present an astonishing combination of fire, sweep, drama and musicality in a way I have never heard before. From first note to last in both versions, one is struck by the amount of musical and orchestral detail he is able to bring out, making each scene not only "live" in a dramatic sense, but also pulling the loose threads and uneven scenes together in a way that gives this massive, rambling opera shape and focus. I am simply spellbound by this man's abilities, though I am sure that he must use Toscanini-like rages and epithets to achieve his "miraculous" results!

The Moscow reviewer below is correct: the earlier version of the Pimen-Dmitri scene does not use the original music or words when Grigory (the false Dmitri) awakes. But what does such a niggling detail matter in the face of such an powerful, musical reading?

As for the various performers: neither Nikolai Putilin nor Vladimir Vaneev will efface memories of Boris Christoff's rich, tight-focused voice, but strictly as vocal actors they compete with Christoff and then some. Putilin has the higher voice, more of a baritone really, so that his lowest passages present some problems, and he has the archtypical Slavic "wobble" which means that some of his notes sound a bit shaky; yet he has more voice and a better "ring" on the top than Fedoseyev, the pale-voiced Boris of the early-'80s Philips set. His counterpart in the 1982 version, Vladimir Vaneev, has an altogether darker timbre, more like a Russian Gottlob Frick, and is more of a bass, which means that he comes to some grief in the high-lying passages of the Coronation Scene, but otherwise he is splendid, vocally and histrionically.

The Pimen in both sets, Nikolai Ohotnikov, is absolutely splendid: a rich, warm, well-focused low bass, reminiscent at times of the legendary Lev Sibiriakov (now, there's a name that only die-hard collectors will know!). He, too, sings with tremendous feeling, and is in fact much better than Christoff's Pimen on either set (the 1952 Dobrowen version or the stereo Cluytens version)...for all his vocal gold, Christoff could not project the warmth or humanity of Pimen because he had none in his character. (Don't take my word for it, though: talk to anyone who performed with him, or read Nicolai Gedda's account in his autobiography.)

The 1869 Grigory, Viktor Lutsuk, has a bright, ringing voice and good interpretive skills, but he suffers even worse from Slavic wobble than Putilin. The 1872 Grigory, Vladimir Galusin, is of course one of the great singing-actors of our time, caught here in his early prime with a brighter-sounding top than we are used to.

The Moscow reviewer really seems to hate Olga Borodina's Marina. She sings gloriously but, as usual, with an all-purpose tone that does not show much characterization. Evgeny Nikitin has far and away the finest voice I have ever heard in the role of Rangoni, the underhanded Jesuit, but both singers were easily topped dramatically by Mariana Lipovsek and Serge Leiferkus on the Abbado recording. In fact, this is the greatest "Polish scene" I have ever heard. But there is one detail near the end that simply astonished me: when Marina, Grigory and Rangoni come together in their trio, their voices blend perfectly. This is something I thought I would never hear in a modern opera performance, and certainly not in "Boris"!

As Varlaam, Fyodor Kuznetsov is superb in both sets: this is the best and most rhythmically accurate "Town of Kazan" aria I've ever heard from anyone. As Chaliapin pointed out, Varlaam is not a buffoon, but a wandering pilgrim, a drunk who drinks to soothe his unnamed longings, and the "Town of Kazan" song is not so much a jolly comedy piece as an outburst of this longing for the unnamed, a way of bursting out. Kuznetsov captures this perfectly.

Konstantin Pluzhnikov is a superb Shuisky both vocally and dramatically. Olga Trifonova is a wiry-voiced Xenia but characterizes well. The small roles are all sung well. Evgeny Akimov as the Simpleton will not efface memories of Ivan Kozlovsky, the finest Simpleton on records (in the old Mark Riezen set), or Andrea Velis, who sang the role so well at the Met Opera revival of 1975, but he too is quite good.

The one thing you should remember when judging this recording is that Gergiev, unlike others who have recorded the opera, only used singers from his Kirov Opera company. Galsin and Borodina have become stars, but only after the fact. This is akin to Serafin's using only the Rome Opera cast for his 1943 "Ballo in Maschera," another recording that is remarkably excellent despite the stylistic shortcomings of Beniamino Gigli.

I cannot recommend this recording highly enough. If you have no other "Boris," this is the place to start; and even if you have Christoff, this is the place to go next!

One of the best from russia.......2002-06-21

This is russian music and singing at top level. Here you have Moussorgskys OWN versions and not the softer, in my opinion a bit duller Rimsky-Korsakov version.

I go for the so called (most) original, the last one here and if you just want one you can buy it as a one single opera cheaper but this set with two different versions is still a bargain and well worth its money.

I think this is THE most russian opera you could get and Moussorgsky was a genius. And how about Gergiev et al? They are not so bad either (they are VERY good about this) so do youself or a friend a favour and buy this.

beautiful..........2002-03-01

Quite splendid. Russian music - always thrillingly primeval, emotive presented in full here in one of its best examples. Conducting is very excellent and singers are always top cut, especially the basses. Varlaam is especially well sung by Kuzetsnov. And of course the two Boris's are brilliant, although I think the second one is a slight edge on the first.

Tracks:

Prelude And Chorus
Pilgrim's Chorus
Coronation
I Am Oppressed
And Now My Son
I Have Obtained The Highest Power
Clock Scene
Chorus & Polonaise
Varlaam & Missail
Dimitri: We, Dimitri...
Well, Shall We Vote?
Out! Out! (Choo!)
Pimen Narrative
Farewell
Prayer & Farewell
Death Of Boris

Moussorgski - Boris Godounov / Raimondi, Wischnewskaja, Plishka, Gedda, Dubosc, Cowan, Rostropovitch (1989 film)

Average customer rating:

Stellar performance of Russia's National opera masterpiece!!
a solid, exciting production, supurb sound

Moussorgski - Boris Godounov / Raimondi, Wischnewskaja, Plishka, Gedda, Dubosc, Cowan, Rostropovitch (1989 film)
Modest Petrovich Mussorgsky , Mstislav Rostropovitch , Ruggero Raimondi , Galina Wischnewskaja , Wyatscheslaw Polozov , Paul Plishka , Nicolai Gedda , Catherine Dubosc , and Richard Cowan
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

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Vishnevskaya, Galina | Divas | Opera & Vocal | Styles | Music

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ASIN: B000005E6S
Release Date: 1992-05-01

Tracks:

Boris Godounov: Introduction orchestrale: Scene - Eh bien, qu'avez-vous?
Boris Godounov: A quis nous abandonnes-tu ?
Boris Godounov: Fideles croyants, notre boiar reste inexorable
Boris Godounov: Tu as entendu les hommes?
Boris Godounov: Scene du Couronnement, Coronation Scene
Boris Godounov: Mon ame est en peine
Boris Godounov: Encore un dernier recit
Boris Godounov: O Dieu de force, Dieu de Justice
Boris Godounov: Tu as ecrit toute la nuit
Boris Godounov: Oh, je me souviens - Ouglich
Boris Godounov: On sonne les matines - Boris, tout tremble devant toi
Boris Godounov: J'ai pris un caneton gris
Boris Godounov: Peuple chretien, bonnes gens aimes de Dieu
Boris Godounov: Dans la bonne ville de Kazan
Boris Godounov: Pour moi!
Boris Godounov: Qui etes-vous? - D'humbles pelerins, de saints moines
Boris Godounov: Que faites-vous, maudits coquins - Fuite de Grigori

Tracks:

Boris Godounov: Ou est mon fiance?
Boris Godounov: Oh, c'est assez, Princesse - Chanson du Moustique, Mosquito Song
Boris Godounov: Ah, Nounou, en voila un conte, Jeu de la Main chaude, The Hand-Clapping Game
Boris Godounov: Qu'y a-t-il?
Boris Godounov: Comme c'est bien, mon fils!
Boris Godounov: Aie, chut! - Qu'y a-t-il donc?
Boris Godounov: A cause de notre Perroquet
Boris Godounov: Mon fils, mon cher enfant!
Boris Godounov: Tsarevitch, obeis!
Boris Godounov: Tu ne me crois donc pas?
Boris Godounov: Assez, ah, je suffoque!
Boris Godounov: Au bord de la Vistule bleue
Boris Godounov: Cela suffit!
Boris Godounov: Je n'ai pas besoin de toi aujourd'hui, Rouzia
Boris Godounov: Ah! Mon Dieu! Cest vous, mon Pere!
Boris Godounov: A minuit, dans le jardin
Boris Godounov: Prends-garde, Tsarevitch - La Polonnaise - Nous aurons bientot conquis la Moscovie

Tracks:

Boris Godounov: Elle! Marina!
Boris Godounov: Eh bien, la messe est-elle finie?
Boris Godounov: Trrr, trrr, trrr
Boris Godounov: Aaah! Boris! Ils ont offense L'Innocent!
Boris Godounov: Nobles Boiars!
Boris Godounov: Eh bien, passons au vote
Boris Godounov: Que dites-vous la, Boiars!
Boris Godounov: Arriere, arriere
Boris Godounov: Auguste Souverain - Mon recit sera simple et bref
Boris Godounov: J'etouffe
Boris Godounov: Pleurez, bonnes gens
Boris Godounov: Amene-le par ici
Boris Godounov: Trrr...le bonnet de fer
Boris Godounov: Le ciel et la lune se sont eteints
Boris Godounov: Hardi! notre male temerite
Boris Godounov: Domine, salvum fac regem
Boris Godounov: Qui le Malin nous envoie-t-il encore

Customer Reviews:

Stellar performance of Russia's National opera masterpiece!!.......2004-07-02

Let's start with the quibbles, on account of their relative insignificance: 1) I miss the real bells used on the Gjórgiev (especially!!!) and the Abbado recordings (the samples I got to hear alerted me to this - the chimes used here sound poor by comparison); 2) the Russian original-language libretto is incomplete (were more space allowed here, I'd have published the missing parts in the original Russian). [I recommend downloading the libretto from other websites - and then piecing in the few things that are otherwise absent from the regular-performance libretto from the booklet supplied - Rostropóvich's reading gives this opera (a composite of the 1868 and 1872 versions) as completely as possible (the réprise of the Simpleton's scene in the last tableau, originally salvaged from the St. Vasíljiy's (Basil's) tableau cut in the 1872 version and which however was reinstated in this recording, could have been omitted consequently - though I'm glad it wasn't!).] 3) I wish the orchestra (very good indeed!!!) could be heard more even when the singers are in full voice (this defect relative to Culshaw's Wagner recordings - my standard in taste - also afflicts Rostropóvich's otherwise superb recording of Shostakóvich's "Lady Macbeth of Mcjénsk").

Otherwise, a very powerful reading with everybody in peak form fully deserving a full 5 stars - even the venerable arch-star of Russian soprani from 1952-82 (from her début with the Boljshóy to her retirement from live operatic performances - of course she was forced out of the Boljshóy in 1974 into exile...) Vishñévskaja, who was close to being 61 years of age at the time of this recording, comes off as well as everybody else (you could hardly tell her age)! Another success is that of Mira Zakai as one of the nurses (in Act II) - she's much better here than in Solti's recording of Mahler's 2nd Symphony with the CSO (where she sounds so uninvolved as well as plain when compared to Helen Watts or Maureen Forester). Gedda sings the Simpleton's part as movingly as could be anticipated from somebody who has given so much of his career to the Russian repertoire, while Plishka gives a wonderfully warm Pimjén. As to Ruggero Raimondi - wow, what a wonderfully evocative portrayal of the demented Carj (C pronounced as 'ts' like in "bolts"; 'j' just softens the 'r' somewhat...)!!! One doesn't need a bassus profundus (which he's not - though his low notes lack nothing!) to do justice to this rôle after all...

Finally, regarding the version of the score being used: while it's indeed based on the 1872 "definitive" version, much stuff cut therefrom which was in the 1868 original version makes it into the recording (not a note is cut from the score). While obviously the earlier version of Act II as well as a few other snippets in Act I (when Grigóriy wakes up) are superseded (the latter's snippets are merely the same music given to offstage choir instead of the strings as done initially), other things (e.g., the dismissal of the crowd in the Prologue's 1st scene, the scene in front of St. Vasíljiy's Cathedral) are fully reinstated - all of this can be vouched for from the full score 2-book set published by Oxford University Press giving Musórgskiy's original version.

Most definitely recommended in all events and regards!!! [Hopefully Erato will reissue this recording as it's amply deserving!]

a solid, exciting production, supurb sound.......2000-07-29

Mussorgsky's Boris Godunov is so rich that it never can be encompassed by one interpretation, however strong. It's worth having two or more versions, including this one, conducted by Rostropovitch, on hand. Here's how it stacks up with two other fine quality, stereo recordings using Mussorgsky's original orchestration: Abbado's and Gergiev's.

Rostropovitch and the ensemble under his baton, provide both a polished orchestral presentation and dynamic drama dominated by one of the best Borises of the digital age. The story and the music reinforce one another seamlessly.

The dramatic presentation in the Rostropovitch version is much more exciting than that in the Abbado version, which focuses more on creating a flawlessly recorded, stunning symphonic and choral atmosphere. In the Rostropovitch version, beautiful children's voices add both an innocent element to Mussorgsky's dark drama and another stunning instrument to the orchestration. In the perfectly polished Abbado version, adult women with full voices flawlessly sing the children's roles.

Rostropovitch's production lacks some of raw dramatic heft of Gergiev versions, but it has more polish. The Gergiev CD set offers two complete versions, both Mussorgsky's 1868 version and the 1873, each complete and with different casts, making it a bargain, if such a thing can be said about overpriced classical music CDs. The Rostropovitch version contains only the 1872 score.

Tracks:

Die Zauberflote: Dies Bildnis Ist Bezaubernd Schon
Fidelio: Gott, Welch Dunkel Hier
Lohengrin: In Fernem Land
Lohengrin: Mein Lieber Schwan
Der Barbier Von Bagdad: Ach, Das Leid Hab Ich Getragen
Faust: Gegrusst Sei Mir, O Heil'ge Statte
Faust: Der Menschheit Ganzer Jammer Druckt Mich Nieder - Helge Rosvaenge/Margarete Teschemacher/Wilhelm Strienz
Carmen: Hier An Dem Herzen Treu Geborgen
Manon: O Schone Zeit, Wo Die Furcht Bon Uns Genommen
Der Troubadour: Dass Nur Fur Mich Dein Herz Erbebt
Die Macht Des Schicksals: In Heiligster Stunde - Helge Rosvaenge/Gerhard Husch
La Boheme: Wer Klopft? Entschuldigt! Eine Dame? - Helge Rosvaenge/Maria Cebotari
La Boheme: Ach, Geliebte, Du Kehrst Mir Niemals Wieder - Helge Rosvaenge/Gerhard Husch
Der Rosenkavalier: Di Rigori Armato Il Seno
Konigsballade: Euren Konig Will Ich Preisen
Konigsballade: Ewig Muss Ich Dein Gedenken

Tracks:

Ein Leben Fur Den Zaren: Bruder Folgt Mir
Boris Godounov: Dimitri, Zarewitsch! - Helge Rosvaenge/Friedel Beckmann
Eugen Onegin: Wohin Seid Ihr Entschwunden
Die Zauberin: Mein Los Ist Seltsam - Helge Rosvaenge/Tiana Lemnitz
Der Troubadour: Mutter, Du Schlafst Nicht - Helge Rosvaenge/Friedel Beckmann
Aida: O Ware Ich Erkoren...Holde Aida
Aida: Entflohn Ist Die Rivalin, Die Verhasste - Helge Rosvaenge/Friedel Beckmann
Der Bajazzo: Schaut Her, Ich Bin's
Der Bajazzo: Scherzet Immer
Der Bajazzo: Jetzt Spielen
Der Bajazzo: Nein, Bajazzo Nicht Mehr
Tosca: Wie Sich Die Bilder Gleichen
Tosca: Und Es Blitzten Die Sterne
Giuditta: Freunde, Das Leben Ist Lebenswert
Giuditta: Du Bist Meine Sonne

Average customer rating:

Ansermet At His Peak
Ansermet and Boris Godunov: A great "live" recording.

Mussorgsky: Boris Godounov

Manufacturer: Malibran [C.D.R.G.]
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B00005LZRY
Release Date: 2001-06-26

Customer Reviews:

Ansermet At His Peak.......2002-05-20

Ernest Ansermet was noted as a superb interpretor of the French and Russian orchestral repertoires, but here he turns to opera. The performance brings us first-rate artists in all the roles and the thrill of a live performance is exhilerating to the listener. There are background noises, but these are canceled by the sheer splendor of the singing and the orchestral playing. The French translation is well-suited to the drama and to the Gallic conception we have here.

Ansermet and Boris Godunov: A great "live" recording........2001-11-29

One of the most important and thrilling recordings of Mussorgsky's Broris Godunov (revised by Rimsky-Korsakoff, 1896 and 1908) with an immense conductor -Ernest Ansermet- measuring every musical phrase and breathing, singing and acting with his singers (basses André Pernet in the title role and Jean Claverie as Pimen; tenor Francis Armel, René Bonneval and Hugues Cuenod as False Dimitry, Prince Shuissky and The Innocent; mezzo Renée Gilly as Marina).
All the parts -orchestral, choral and soloists- have been carefully worked and deeply understood by the interpreters. Ansermet's compenetration with this music is one of the highlights of his imperishable art. A classic.
The french singing does not compare unfavorably with the original russian. Excelent sound very well remastered, considering the date of actual performance recording (1948). Great musical achievment.
About CDs presentation the historical notice is good. Singers' biographies can be improved, although the complete cast is not reviewed. There is no orchestra indicated (Suisse Romande? I think it is), neither chorus (Chorus Suisse Romande? From the Grand Theatre de Geneve?), theatre (Grand Theatre de Geneve?) nor exact date of actual performance.