When
Modest Mussorgsky died in 1881 he left behind an unfinished
opera,
Khovanshchina (The Khovansky Family). The
end of act two and the final chorus of the Old Believers
existed only as sketches. The assiduous completer of other
composers’ work, Nikolay Rimsky-Korsakov, orchestrated
and finished Mussorgsky’s manuscript to allow the work
to be premiered at the Kononoc Theatre in St Petersburg
on 21 February 1886. It had a run of nine performances
but five years later appeared at the Mariinsky Theatre
with Chaliapin as Dosifei. In June 1913 it was presented
at a theatre in Champs-Élysées in Paris, revised by Igor
Stravinsky and Maurice Ravel, but during the next half
century it was Rimsky-Korsakov’s version that was played,
even though it was criticized on various counts. He made
some cuts but he also made changes in the music to make
it fit with his own aesthetic. In 1958 Dmitri Shostakovich
worked out a new version that goes back to Mussorgsky’s
original thoughts. This version has also been criticized
and the end of the opera has been rewritten a number of
times. When the Finnish National Opera produced
Khovanshchina a
few years ago conductor Mikko Franck, the present General
Music Director of the house, had composed his own end – the
present production from Gran Teatre del Liceu employs Guerassim
Voronkov’s end.
Irrespective
of which version or which ending is used, it is a masterpiece,
at least as regards the music. It has the same rugged beauty
and power as
Boris Godunov, but what after all makes
it a flawed masterpiece is the libretto by the composer
and Vladimir Stasov. Stage director Stein Winge writes
in the liner-notes about the quarrel between the main protagonists
Ivan Khovansky, Golitsyn and Dosifei in the second act: ‘The
music is very powerful, but their discussion leads to nothing./… /Everything
stagnates; it is as though the characters are just emptily
calling out, only giving emphasis to their own individual
situation …’ It is also a very long work and Winge has
in this production cut a couple of scenes because they
are not very interesting and to make it more consistent.
The
libretto was inspired by old chronicles and deals with
the struggle for power between the representatives of the
old and new Russia in the late 17
th century.
The uprising of the Streltsy, led by Ivan Khovansky, has
taken place - this happened on 15 May 1682 - and as a result
the Tsarevna Sofija has become ruler in the name of her
children, Ivan and Peter – later to become Peter the Great.
The ideological conflicts are personified by the three
main characters. The violent and fanatic Ivan Khovansky,
leader of the Streltsy, represents the power of the Boyars
and the ‘old’ Russia; Dosifei, leader of the Old Believers,
represents the enigmatic non-Europeanized Russia; Prince
Golitsyn represents the ‘new’ Russia and influences from
the West. Politics, religion and superstition intertwine
in this brutal and pessimistic tale, permeated to no little
degree by the music of the Orthodox Church.
Stein
Winge has transported the drama to the 1950s ‘because it
makes no sense to stage a historic Russian production for
a non-Russian audience and because we think it helps to
focus on the fact that history tends to repeat itself’.
He has, however, done so with a cautious hand. There is
no real modernizing, the costumes are very little changed
from the 17
th century until now and the peasants
look about the same. There is nothing spectacular about
the staging and it wouldn’t fit with the bleak events that
are unfolded. The stage is dark, long scenes in a cold
blue light, and only Ivan Khovansky and Prince Golitsyn
wear costumes with some colour in a couple of scenes. The
ballet with the Persian Dances is an exception but this
is also intended to be a kind of divertimento. In this
production it has a dramatic function by showing other
sides of Ivan Khovansky’s contradictory character. The
dwarf, whom he carries on his arm like a monkey, is all
red, and we understand why when we come to scene where
Khovansky is murdered.
The
sense of horror is imprinted on the viewer from the outset
when the curtain rises during the orchestral introduction.
Red Square is bluish, foggy, soldiers walk about, corpses
are hanging from gallows, everything breathes violence,
threat. Shaklovity, the Chief of the Police, in black,
fur-collared coat and a menacing expression, is the incarnation
of tyranny from his first entrance and all through the
performance, appearing also in scenes where he has nothing
to sing. His shadow looms above all the proceedings. Even
in the final scene, after the Old Believers have committed
their collective suicide, he walks in and watches the dead
bodies. Evil has triumphed. This final scene is utterly
moving. The Old Believers, dressed in white, sing their
hymn, light their candles and instead of ascending the
pyre they one by one blow out the flame and sink to the
ground. The music in Voronkov’s version just dies away.
The
choruses are central in this opera, as in so many other
epic Russian operas, and the singers of the Liceu make
honourable contributions in their various guises, even
though the women, personifying peasant girls, are a bit
sprawling. Michael Boder’s tempos are drawn out, at least
compared to the only other recording I have access to,
but that is the Rimsky-Korsakov version. The cast is a
strong one with Elena Zaremba’s Marfa, one of the great
female roles in Russian opera, intense and glowing but
unfortunately afflicted by a heavy vibrato that disfigures
some of her singing. There is however no mistaking the
commitment and the passion in her meeting with Andrei in
the final scene. Andrei is fervently sung by the tremendous
Vladimir Galouzine, initially a little dry in tone but
he soon warms up and becomes his usual mesmerizing self.
Vladimir Ognovenko is another hypnotic actor and he makes
a vivid portrait of the complex personality of Ivan Khovansky,
his irascible disposition. Dosifei is less complex as a
character but Vladimir Vaneev still makes him believable
in his goodness and he sings with warmth and lyrical glow.
His act 5 aria
Zdes’, na etom mestye svyatye is
truly moving. Nikolai Putilin is a formidably ominous Shaklovity
and sings impressively, albeit rather strained in places.
As Prince Golitsyn Robert Brubaker is smug and slimy and
the rubber-faced Graham Clark is characteristically expressive
as the scribe – there are similarities with Mime, one of
his great roles.
Gran
Teatre del Liceu have produced a number of fine DVDs and
this
Khovanshchina can be added to that list. There
is at least one other DVD version of this opera available,
Abbado’s Vienna version with Nicolai Ghiaurov as Ivan Khovansky,
which has been highly praised, not least by
John Leeman
on this site, but I was deeply touched by the present issue, which powerfully
delineates the horrifying conflicts that continue to befall
mankind.
Göran
Forsling