[Met Performance] CID:240450

Boris Godunov
Metropolitan Opera House, Thu, February 6, 1975

Debut : Paul La Medica

Boris Godunov (180)
Modest Mussorgsky | Modest Mussorgsky
Boris Godunov
Jerome Hines

Prince Shuisky
Robert Nagy

Paul Plishka

William Lewis

Klara Barlow

Morley Meredith

Raymond Michalski

Nico Castel

Andrij Dobriansky

Edmond Karlsrud

Arthur Thompson

Shirley Love

Paul Franke

Richard Best

Loretta Di Franco

Paul La Medica [Debut] [Debut and only performance]

Cynthia Munzer

Boyar in Attendance/Khrushchov
Robert Schmorr

Robert Goodloe

Charles Anthony

Thomas Schippers

Review 1:

Allen Hughes in The New York Times
Met “Boris Godunov” A Sumptuous Work

Based on the Metropolitan Opera's performance of Mussorgsky’s "Boris Godunov" on Thursday night, it could be said that the company's new production of the work is so sumptuous it is becoming to anyone involved in it.

A wholesale change of cast brought seven singers into roles they had not done here previously and Jerome Hines into the title role for the first time.

The relative strengths and weaknesses, the emphasis of specific dramatic values and the array of vocal colors, certainly differed greatly from those of the cast that gave the first performances this season. Nevertheless, this cast was unified in spirit and its interpretations was marked by integrity.

Mr. Hines's portrayal was detailed, thoughtful and seemed deeply felt, and his signing was smooth and secure. Still, his was not the kind of spectacular performance that makes the personality of Boris dominate the entire opera. Fortunately, this is not necessary.

Klara Barlow, the Marina, and William Lewis, the Dimitri were well paired vocally and temperamentally, and Morley Meredith was suitably sinister as Rangoni.

Newcomers to the scene in the inn were Shirley Love, the hostess, and Raymond Michasksi as Varlaam... Others new to their assignments were Arthur Thompson (Shchilkalov), Loretta Di Franco (Xenia) and Paul La Medica (Feodor, son of Boris). All three did well, with special credit going to Mr. Thompson for a suave performance.

The lion’s share of the credit for the quality of the performance belonged to Thomas Schippers, the conductor, who had everything under taut and beautifully balanced control.

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