Metropolitan Opera Archives

Nicola Rossi-Lemeni, whose impersonation of Boris has been widely acclaimed on the West Coast and in Europe, and who has sung the role both in Russian and in Italian, sang it in English in the season's first performance on Jan. 11, of Moussorgsky's Boris Godounoff, again conducted by Fritz Stiedry. It was Mr. Rossi-Lemeni's first appearance in this role at the Metropolitan.

Dramatically, there was much to praise in his performance, especially in Act II and in the death scene in Act IV. The anguish, the frenzy and the tortured conscience of the half-mad czar were vividly conveyed. Vocally, the performance was pale and sometimes ineffectual. Mr. Rossi-Lemeni's voice did not have the weight or the power to make the majestic entrances in Act I seem impressive and he appeared to be having difficulties throughout the evening in attaining resonance and projection. There are several passages in the opera in which it is essential that Boris should make a tremendous effect with comparatively brief phrases. Unless these are sung with ringing power and dramatic intensity, Boris loses his domination of the scene and the opera falls out of focus. But even if Mr. Rossi-Lemeni did not sing the part very memorably, he obviously understood many of its emotional overtones; he made the scenes with the czarevitch and with Shuiski emotionally gripping.

One of the finest achievements of the evening was Charles Kullman's performance as Prince Shuiski. It was his first appearance in this role at the Metropolitan and it was one of the best things he has done there in many years. Mr. Kullman was careful with his voice, which sounded very light, but he made the most of his resources and his dramatic comprehension of the character was profound. The hypocrisy, the hidden cruelty, the uneasiness and the servility of this schemer were all vividly projected. Boris' mistrust and maddened impatience took on new meaning, so skillfully did Mr. Kullman and Mr. Rossi-Lemeni work together.

Others heard for the first time in their roles at the Metropolitan were Clifford Harvuot, as Rangoni, and Maria Leone, Heidi Krall, Margaret Roggero and Sandra Warfield, as the

Companions of Marina. Herta Glaz substituted in the role of the Innkeeper for Martha Lipton, who was indisposed.

Mr. Harvuot sang well and succeeded in making the wily Jesuit seem human and not a caricature; he can do much more with this part, which is rich in dramatic possibilities. His make-up was unfortunate, for the tonsure was too far forward on his head, resulting in an oriental effect. Miss Glaz was a delightfully robustious Innkeeper. The scene in the inn went much better this season than last and was musically much more cohesive. Salvatore Baccaloni had a Hogarthian amplitude and vigor as Vaarlam and Thomas Hayward was a lusty Missail.

The scene in Boris' apartments also was more firmly performed this season. Genevieve Warner sang Xenia's lament poignantly; Mildred Miller was a wonderfully boyish and appealing Fyodor; and Jean Madeira made the nurse seem both motherly and a little childish, as she should. Fyodor's narrative about the parrot was restored. It was welcome, for it is striking music and is necessary for reasons of dramatic consistency as well. Norman Scott gave a creditable performance as Pimen, but his voice did not have the needed weight, nor his stage presence the needed majesty and venerability to give this wonderful role its full effect.

Brian Sullivan had obviously worked hard at his role of Grigori. He sang the love music in Act III far more warmly and convincingly than last season and he was also more imposing in the Kromy scene. Mr. Sullivan's voice is gaining in volume and his acting is improving by leaps and bounds. He should be doubly careful, therefore, to eliminate the tinge of sentimentality, almost a plaintive whine, that creeps into his voice sometimes in climactic phrases.

Blanche Thebom obviously revels in the melodramatic role of the cold and ambitious Marina. She looked stunning and sang it for the most part very effectively. Apart from some low tones, which sounded hoarse and almost parlando, her voice was vital and gleaming in quality. Others in the large cast, familiar in their roles, were Arthur Budney, as Shchelkalov; Osie Hawkins, as an Officer and as Lavitski; Lawrence Davidson, as Nikitch, and as Chernikovski; Gabor Carelli, as a Boyar; Thelma Votipka, as a Woman; and Algerd Brazis, as Mityukh. Paul Franke was again deeply touching as the simpleton. I cannot agree with Dino Yannopoulos, the stage director, in having the simpleton perch on a rock in the pose of a crucified Christ, at the close of the opera. It would be far more natural and moving to have him crouch in fear and trembling as he voices the anguish of the Russian people. But the Kromy scene should always be placed at the end of the opera, as it was on this occasion.

Mr. Stiedry conducted the whole work with unflagging intensity. The chorus sang magnificently, especially in the Kromy scene; and the Polish scene, usually somewhat pallid, glowed with ardor. The sonorities were overdriven in the coronation scene; after all, Moussorgsky cannot sound like Rimsky-Korsakoff. But as a whole, this was an inspired performance, if sometimes too tense. We owe the Metropolitan a profound debt of gratitude for restoring this astounding music to us in its original harmonic boldness and dramatic truth.

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