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Musorgski,  Boris Godunov:  (New production) Orquesta y Chorus Sinfónica de Madrid. Conductor: Jesús López Cobos. Teatro Real de Madrid. 6 and 7. 10. 2007. (JMI)

 

A new Teatro Real production co-produced with  Théâtre de La Monnaie and Opera National du Rhin.

 

Director: Klaus Michael Grüber.

Stage: Eduardo Arroyo.

Costumes: Rudy Sabounghi.

Lighting: Dominique Borrini.

 

Casts:

 

Boris Godunov: Samuel Ramey/Roberto Scandiuzzi.

Pimen: Anatoli Kotscherga/Arutjun Kotchinian.

Varlaam: Vladimir Matorin.

Grigori: Misha Didyk/Vsevolod Grivnov.

Shuiski: Stephan Rügamer/Donald Kaasch.

Chelkalov: Vasily Gerello.

Misail: Alexander Podbolotov.

The Idiot: Dmitri Voropaev.

Fiodor: Maria Gortsevskaya.

Xenia: Marina Zyatkova.

The Nurse: Raquel Pierotti.

The Hostess: Itxaso Mentxaka.

 

Teatro Real opened their new opera season with this great Russian work which has  not performed in Madrid for more than 20 years, when Ruggero Raimondi's Boris was spectacular success in Piero Faggioni’s production.

Any production of Boris Godunov needs to decide which version to offer and in this case the decision went to the so-called original from 1869. This choice is more and more frequent in theatres, who defend it with the argument of fidelity to the composer. I don’t share this opinion. The actual 'original' version premiered in 1872, includes the Polish Act and happens to be cheaper to produce since it removes an important mezzo soprano and a baritone completely and changes an important heroic tenor into an almost episodic character. If the choice is taken based on respect for the composer's intentions, then why do so many performances add the Kormi forest scene which only exists in the 1872 version?  I am afraid that the true reason lies in the fact that this does not increase the cost while including the Polish Act does. The last time I saw the “expensive” version was in Francesca Zambello’s production in Paris and it looks as though  this  is becoming increasingly rare. Verdi’s original Don Carlos is more expensive than the revised one however, so why do theatres claim to be purists only with Boris Godunov? Money, Money, Money…

 

There was great anticipatory excitement for the presence of Eduardo Arroyo as set designer of this production, but his work turned out as a real disappointment. Once again we  are presented with  a minimalist production of very little interest except  Arroyo's personal touches particularly flies and birds. He explains in the program that flies have always obsessed him so it's as well that his obsessions were with are and rather than dinosaurs. Klaus Michael Grüber presents the chorus as modern homeless people, while the Czar, Boyars and monks are dressed in period costumes. The direction is generally good however, defining the characters properly, although it falls short on moving masses, so important in this opera.

 

Jesús López Cobos, musical director of Teatro Real, conducted and his work was better than I expected. The first half of the opera was rather irregular, particularly flat in the scenes with  Pimen, at the Inn and in  the Czar's chamber. The second half was better, especially in a very moving Death of Boris. The   Orquesta Sinfónica de Madrid offered a bright sound, much better than at the end of last season and the  Teatro Real chorus  gave an outstanding performance, full of strength and musicality.

 

As it is usual at Teatro Real we had two different casts for the main characters with big names for most of them. Samuel Ramey, one of the great glories in opera history and the most important bass-baritone of the 80s and 90s, was Boris and  as an artist he was at the top level, with an interpretation of great intensity. Ramey's Boris is  fully believable and moving, especially when he is able to control the huge vibrato that he has acquired in recent years His voice retains his former quality with no problems of tessitura and he remains a true  artist. When  he can hide the wobble, as it happened here in the Boris death scene, he is still a reference.

Roberto Scandiuzzi made his debut in the role, after his success in Dosifei in Khovanshchina. His recent work has been a very pleasant surprise, giving outstanding performances with his beautiful voice -  much improved in his higher range  and  being a very convincing interpreter these days. He was remarkable both in the Coronation and in the death scene and  it is difficult to imagine any other theatre offer two Borises of such high  calibre.

 

Anatoli Kotscherga's  Pimen would be difficult to improve in any respect. He is a true Russian deep bass and a real expert in the role. Arutjun Kotchnian – the alternative Pimen was also better than expected and there have been  few  times when I have been so convinced with this singer.

 

Vladimir Matorin's  Varlaam  was perfect , with voice that  is spectacular both  in volume and colour. Matorin has become the paradigm for the boozer monk and his interpretation at  the Inn  was simply  masterly.

 

Stephan Rügamer was a good Shuiski well in keeping with the tradition of the character and showing all the deviousness of the role. Donald Kaasch offered a better voice than we usually have for Shuiskis but was less convincing as an interpreter.

 

The Grigoris or false Dimitris were Misha Didyk who  looked good,  had an appealing voice and sang well and  Vsevolod. It was at his performance where  I specially missed  the  Polish Act, since Grivnov one the most important tenors in Russian opera today.

 

All the secondary roles were perfectly cast with no exceptions at all. María Gortsevskaya was a suitable Zarevich  and Marina Zyatkova,  as Xenia, offered a beautiful but small voice, singing the Mosquito song with great taste. Veteran Raquel Pierotti was a pleasant surprise as the Nurse,  Vasily Gerello made a luxurious Chelkalov, much better here than in the Italian repertoire, and Alexander Podbolotov was a lively Misail.

Itxaro Mentxaka (The Inn Hostess) was much better than in her recent Teatro Real Suzuki and Dmitri Voropaev made an outstanding Innocent, winning everyone’s hearts, as should be the case.  Both Ramey and Scandiuzzi had well- deserved successes, as  did  Kotscherga and Matorin and it goes  without saying that the Idiot or Innocent was also greeted warmly.


José M Irurzun

                             

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