Best Boris Godunov?

[Guest]

I have three recordings of this complex, worked-over and - some would say - not totally satisfactory work.

These are:

Karajan/VPO, with Ghiaurov

Rostropovich/WSO, with Raimondi

Abbado/BPO, with Kocherga

Of these, I'd say the Rostropovich is by far the most successful, with Raimondi hugely impressive as Boris (was this his only excursion outside the Italian repertoire?) and a perfect digital recording. Abbado I find too reflective and sometimes underpowered; Karajan is just that bit too smooth.

What think you?

[umslopogaas]

What? Shame on you for these inadequate items. This is the greatest Russian opera ((admittedly, the greatest one known to me, which might not be quite the same thing as the greatest ever, but it aint far short) and I've known it for more than forty years (yes, terrifying, but I just counted them on my increasingly arthritic fingers).

You dont know Christoff, conducted by Cluytens? You havent lived.

I just got out the LPs and the very beginning is firing up, the one theme that gets this opera by the throat and never let's go: 'da de DAH da, da de da' as the peasants crawl before the boyars. It sounds good, I cant wait for Christoff to flare his nostrils, open his vocal chords, and snarl. And that's just the beginning. When he get's to 'I have attained supreme power', you'd better get a large drink, he is ... no, dont go there. What a voice!

Ah, the bells! The Tsar is crowned! But there is a terrible secret ...

[Mandryka]

What? Shame on you for these inadequate items. This is the greatest Russian opera ((admittedly, the greatest one known to me, which might not be quite the same thing as the greatest ever, but it aint far short) and I've known it for more than forty years (yes, terrifying, but I just counted them on my increasingly arthritic fingers).

You dont know Christoff, conducted by Cluytens? You havent lived.

I just got out the LPs and the very beginning is firing up, the one theme that gets this opera by the throat and never let's go: 'da de DAH da, da de da' as the peasants crawl before the boyars. It sounds good, I cant wait for Christoff to flare his nostrils, open his vocal chords, and snarl. And that's just the beginning. When he get's to 'I have attained supreme power', you'd better get a large drink, he is ... no, dont go there. What a voice!

Ah, the bells! The Tsar is crowned! But there is a terrible secret ...

Never heard the Cluytens set, but am familiar with the earlier Dobrowen one, that also features Christoff (I think in both sets he played various roles). I remember enjoying it, but how acceptable is a straight Rimsky-Korsakov completion these days?

[Richard Tarleton]

I have three recordings of this complex, worked-over and - some would say - not totally satisfactory work.

I don't know these recordings so don't know which versions they represent - but if you call it "complex and overworked" you can't be talking about the original 1869 version for a start. The problem of the versions is a major one when choosing a recording. I first saw the 1869 version in a semi-staged performance by the Kirov (as they still called themselves in 1997) at Drury Lane, and again by WNO in a rubbish production by David Pountney. In 1999 I saw the 4 act Rimsky version by the Bolshoi at the Coliseum - I found this considerably overblown and lacking in coherence after the stark power and concentration of the original 2 hour, 7 scene version, though it did feature Elena Obratsova as Marina.

When it came to a recording, the choice was simple - the 2-version set by Gergiev and the Kirov - the 1869 original on 2 discs, with Mussorksky's own 1872 4 act version on 3 discs ending with the Cromy forest scene, in a 5-disc boxed set. The best of both worlds without Rimsky's excesses. Superb ensemble playing by the Kirov. The Drury Lane performance featured a young Netrebko as Xenia, but her career had moved on by the time of the recording - otherwise many of the singers were the same, which is another reason I like it.

[Parry1912]

When it came to a recording, the choice was simple - the 2-version set by Gergiev and the Kirov - the 1869 original on 2 discs, with Mussorksky's own 1872 4 act version on 3 discs ending with the Cromy forest scene, in a 5-disc boxed set. The best of both worlds without Rimsky's excesses.

[umslopogaas]

There are indeed (at least) two recordings featuring Boris Christoff as Boris Godounov: I have an earlier one in mono only, conducted by Dobrowen and a later stereo one conducted by Cluytens. I also have an EMI recording dated 1977 which says it is the "world premiere recording of the original version," with Marti Talvela as Boris and the Polish National Radio SO conducted by Jerzy Semkow. I also have a single LP of highlights sung by Yevgeny Nesterenko, and a double LP in mono of excerpts sung by Mark Reisen. I also have an HMV "Great Recordings of the Century" LP of excerpts sung by Chaliapin, who does not impress me as much as I expected: I much prefer Christoff. Wonderful stuff in any version, its the opera that got me interested in opera as a teenager. I still remember sitting with my ear glued to the radio with the volume turned down because my Dad was trying to do some paperwork on the living room table and he couldnt stand opera. It might well have been a broadcast of a performance by Christoff.

[Eine Alpensinfonie]

I have a heretical admiration for Karajan's R-K version.

[Chris Newman]

I was lucky enough to hear Boris Christoff sing the role twice at Covent Garden, of course in R-K's version, the second of which was the first ever Covent Garden Prom. He is superb in the three roles on Cluytens magnificent recording which I have. I have three Gergiev sets (interestingly my only recordings by him). They are his double set (Philips) with Nicolai Putinin and Vladimir Vaneev as the 1869 and 1872 Borises respectively and the Kirov DVD where Robert Lloyd makes the recording of his career. Despite all those my real favourite is Claudio Abbado's 1872 with Anatoly Kotcherga. What a cast and the Berlin Phil to boot!

I must hunt out the programme for the first Christoff I heard as I recall it began and ended with the Russian people listening to the Simpleton's song which was dramatically very moving.

[Mandryka]

I was lucky enough to hear Boris Christoff sing the role twice at Covent Garden, of course in R-K's version, the second of which was the first ever Covent Garden Prom. He is superb in the three roles on Cluytens magnificent recording which I have. I have three Gergiev sets (interestingly my only recordings by him). They are his double set (Philips) with Nicolai Putinin and Vladimir Vaneev as the 1869 and 1872 Borises respectively and the Kirov DVD where Robert Lloyd makes the recording of his career. Despite all those my real favourite is Claudio Abbado's 1872 with Anatoly Kotcherga. What a cast and the Berlin Phil to boot!

I must hunt out the programme for the first Christoff I heard as I recall it began and ended with the Russian people listening to the Simpleton's song which was dramatically very moving.

I seem to recall reading that Christoff insisted on Boris's death being the final scene and would refuse to perform in any production that didnt' observe this performing 'tradition'. Of course, I might have read wrong....

[Richard Tarleton]

I seem to recall reading that Christoff insisted on Boris's death being the final scene and would refuse to perform in any production that didnt' observe this performing 'tradition'. Of course, I might have read wrong....

Both the 1869 original and the Rimsky version I saw end with the death of Boris. Ending with the the Kromy Forest scene and the Simpleton puts the Russian people back at the centre of the tragedy, where they were at the start. Arguments either way, I suppose, egos apart!