Metropolitan Opera Archives

Review 1:

Review of Max de Schauensee in the Philadelphia Evening Bulletin
Met Stages “Boris Godunov” in English at Academy

For its penultimate performance of the season at the Academy the Metropolitan Association brought one of the greatest of all operas to Philadelphia last night, Mussorgsky’s “Boris Godunov.”

This year’s revival is an historic production, for Rudolf Bing has chosen to present “Boris” in its original Mussorgsky version of 1874, thus eschewing the brilliant sonorities and alterations of Rimsky-Korsakov, which have been always employed here since the opera was first given in New York in 1913.

Karl Rathus has been entrusted with the editing of the score, and the eliminating of everything that Rimsky ever did in it. He has accomplished a first-rate job.

Added Scene Shown

An added scene is also shown, that in the square of St. Basil when the idiot reproaches Boris before the assembled crowds. As might be expected, the opera began at 7:30 and the final curtain descended on the idiot lamenting the fate of Russia, at 11:45.

It didn’t seem long, however, for Boris” is a truly great work, a towering masterpiece of immense power and infinite invention.

A comparison between the version heard last night and the Rimsky-orchestrated version would be far too long here, also it would, in all seriousness, call for a minute examination of both scores. Perhaps the Coronation scene seemed more musically massive and brilliant in the old score, but listening carefully to what was heard last night, there need be no apology for this altogether great music, despite the old claim that Mussorgsky was not an effective orchestrator.

Some Loose Threads

The Metropolitan production still has quite a few loose threads to pull together. The scenery often gives a makeshift impression, and the singers were not always with Mr. Stiedry, who has a tremendous task with this opera and who accomplished it with distinction.

The most serious flaw for this reviewer was the stage direction at the end of the opera. This is very important, especially with the present ending. As the crowds leave the light is suddenly and inexplicably dimmed almost to darkness, and a shaft of light – from Heaven one guesses – is directed on the figure the idiot, who assumes a theatrical pose of torture.

This made the impression – at least on one beholder – of a cheap bid for theatrical effectiveness. It didn’t ring true. There is no reason for the light being changed, and the simpleton should just be seen sitting and lamenting the fate of Russia as the snow falls. The simpler and less contrived the ending, the better.

Opera Sung in English

The opera was sung in an excellent translation by John Gutman, which was just as much of an innovation as the return to the original score. Certainly, “Boris” sounds far better in English than in Italian.

The lines were sensible and appropriate, and a good number of them came over, especially when sung by George London and Paul Franke.

Mr. London sang the all-important role of Boris with great beauty of tone and an excellent feeling for phrase. He was a towering and dignified figure. His Hallucination Scene and his Death were big moments. They will probably become even more impressive with the passing years. He was given a deserved ovation by the audience that recognized a singing actor of the greatest promise.

The two dozen people in the cast are too numerous to be all mentioned, but one cannot overlook the stalwart Giorgi-Dimitri of Brian Sullivan, the effective Rangoni of Sigurd Bjoerling, the excellent nurse of Jean Madeira, the appealing Fyodor of Mildred Miller and the handsome Marina of Nell Rankin.

Others Effective

Paul Franke did not conceive his Shuisky as the conniving, crafty courtier that both Angelo Bada and Alessio de Paolis made him, but he was effective along more restrained lines.

Norman Scott sang well as Pimen, but his diction might have been clearer in this important last-act narrative. A word for Gabor Carelli’s Simpleton, and Salvatore Baccaloni’s Varlaam.

Two major cast changes in roles originally announced were made last night. Miss Rankin replaced Blanche Thebom, and Mr. Scott substituted for Jerome Hines.

The chorus, very important in this opera, did a sonorous job, especially in the final scene, and the orchestra sounded unusually well.

Philadelphia may indeed consider itself fortunate to have heard this historic presentation, which carried the seeds of a great one.

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