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	,  - Boris Godunov (Opera in two parts) - M.Mussorgsky - uVisitRussia
	
						

				
				
				


				
				



				
				
				
				
			
			
		
				
			

Home Theaters Moscow Moscow theatre "New Opera" , - Boris Godunov (Opera in two parts) - M.Mussorgsky
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Opera
Moscow theatre "New Opera", Moscow
Duration: 2 hours 40 minutes
World premiere: Moscow theatre "New Opera", 19 September 1998

Mussorgsky’s Boris Godunov is Russia’s national epic: a tale of splendour, suffering, and the all-too human price of power. It’s one of the supreme achievements in Russian opera. If the Mariinsky is Russia’s national opera company, Mussorgsky’s Boris Godunov – premiered at the Mariinsky in 1874 - is surely Russia’s national opera. Certainly, few operas look more penetratingly at the soul of a nation: scenes of pageantry are undercut by private soul-searching and state-sanctioned murder. The opera paints Russia’s artistic self-image.

BORIS GODUNOV - MODEST MUSSORGSKY

Music Director: Dmitry Volosnikov
Conductors: Dmitry Volosnikov, Valery Kritskov
Stage Director: Valery Belyakovich
Set Designer: Eduard Kochergin
Costume Designer: Inna Gabai
Lighting Designer: Gleb Filshtinsky
Chief and stage choirmaster: Natalya Popovich
Choirmaster: Andrey Lazarev

Opera in two parts (7 scenes)
Mussorgsky’s first version to his own libretto after Pushkin and Karamsin


This great epic opera takes place in Russia between 1598 and 1605. Boris Godunov ascends the throne, praying for the guidance of God in the great task before him. The old monk Pimen, who is writing a chronicle of Russia, tells Grigory Otrepyev that the young Prince Dmitri, the son of late Tsar Ivan the Terrible, was killed by the usurper, Boris Godunov. The ambitious Grigory decides to pose as Dmitri in order to claim the Russian throne.

Tsar Boris is never at peace: he is haunted by the memory of Dmitri’s murder. When he learns that a pretender has emerged in Lithuania under the name of Dmitri, the shattered Boris has a vision of the murdered child.

A simpleton, tormented by the cruelty of children, compares Boris with Herod, thus expressing the people’s hostile attitude towards their tsar. Boris, ill and demented with guilt, can take no more and dies. He accepts death as redemption for his sin