[Met Tour] CID:96150

Boris Godunov
American Academy of Music, Philadelphia, Pennsylvania, Tue, April 5, 1927

In Italian

Boris Godunov (79)
Modest Mussorgsky | Modest Mussorgsky
Boris Godunov
Fyodor Chaliapin

Prince Shuisky
Angelo Badà

Ezio Pinza

Armand Tokatyan

Marion Telva

Paolo Ananian

Alfio Tedesco

Louis D'Angelo

George Cehanovsky

Ina Bourskaya

Giordano Paltrinieri

Charlotte Ryan

Grace Anthony

Kathleen Howard

Vincenzo Reschiglian

Vincenzo Bellezza

Orchestration by Nicolai Rimsky-Korsakov
Translation by M.Delines, E. Palermi, G. Pardo
Synopsis of Scenes
Act I, Scene 1: The wall of Novodievitchi Convent, in the Great Environs of Moscow
Act I, Scene 2: A cell in the Convent of Miracles
Act I, Scene 3: The square between the two Cathedrals of the Assumption and of the Archangels
Act II, Scene 1: An inn on the frontier of Lithuania
Act II, Scene 2: Apartments of the Czar in the Kremlin at Moscow
Act II, Scene 3: Garden of the Castle of Michek
Act III, Scene 1: The forest of Kromy
Act III, Scene 2: Hall of the Duma in the Kremlin
Chaliapin always sang Boris in Russian.

Review 1:

Review of Herman I. Dieck in the Philadelphia Inquirer

'Boris Godunoff' With Chaliapin as Interpreter

Metropolitan Company Presents Moussorgsky Opera with Star

Features of the Evening

Feodor Chaliapin seems to live the part of the Russian pretender, Boris Godunoff, in the Moussorgsky opera of that name. It is a tellingly dramatic work from the spectacular drama by the Russian poet, Pushkin, and it has been opulently produced by the Metropolitan Opera Company. Chaliapin as Boris was the outstanding figure in the performance of this commandingly melodious work as given last evening at the Academy of Music and the audience was most enthusiastic over everything he did. The scene of the second act with Boris terrorized by his conscience and, in defiance of his fancy, battling an unseen and nonexistent foe, was superbly given. Chaliapin is always at his best when he may act as well as sing and there is probably no artist of the operatic stage who is his superior in the combination of histrionism and vocal art. Tremendous applause greeted him and again and again he was obliged to come before the curtain to bow his acknowledgment of the enthusiasm. But still more affecting and of greater artistry was the pathos of the dying moments of the Tsar Boris, as he sat in his great chair in the hall of the Duma with his son, Theodore, alone to try to comfort the distraught man.

The performance of last evening was the next to last of the opera season here. It was an admirable presentation of the splendid Moussorgsky work, with some superb choral singing and with able presentation of various roles. The music is at times of tremendous power and there is that full-throated Russian quality in the chorus arrangements. Chaliapin sang in Russian - he is perhaps at his best in his native tongue - and his interpretation of the role goes back nearly 20 years to his first appearance in the opera in Paris [sic]. Grace Anthony as the young Teodora, was youthful in appearance and sang sweetly and with manifest appreciation. Armand Tokatyan, as the false Dimitri, gave the role full value dramatically and vocally. Kathleen Howard as a nurse, Charlotte Ryan as Xenia, Angelo Bada as Schuisky, Ezio Pinza, a tall and impressive bearded Brother Pimen, Marion Telva, whose lovely voice was heard in the role of the Polish Marina, Paolo Ananian and Giordano Paltrinieri as bibulous monks and others in the cast, including Ina Bourskaya, lent their best efforts to a most interesting performance.

There were some trifling accidents that helped to relieve tension. One of those was due to a restive white horse that didn't seem to know just what to do and so had to be led hastily from the stage just as Dimitri was making an impressive entrance as rider. Then, in the snow scene there were occasional bursts of snow, coming apparently from a hole in the sky.

The opera was conducted by Vincenzo Bellezza, who performed his task with fine appreciation of the work

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