The opera Boris Godunov was created by Modest Petrovich Musorgsky as a folk musical drama. This is the worldâs greatest achievement of the Russian opera school, a brilliant example of a democratic trend in our classics. It combines the depth of a realistic depiction of Russian history with the amazing innovation that has been manifested in the creation of this musical work.
The generally accepted world opinion that the opera Boris Godunov is difficult for staging in foreign opera houses, as it can be difficult for foreign conductors, directors, and performers to penetrate deeply into the ideas of Musorgskyâs musical drama. Interestingly, the stellar world opera scenes invited Russian directors, for example, La Scala - A. Konchalovsky, to stage Boris Godunov.
The original source for the idea of ââcreating an opera was the tragedy of the same name by A.S. Pushkin. "Boris Godunov", the biography of this outstanding Russian politician, his tragic fate, the conflict between the craving for autocratic power and the discontent of the people during the period of unrest that reigned during his reign. In general, the conflict between the people and the authorities is an echo of the ideas of the Decembrists in the Pushkin drama.
Mussorgsky picked it up and developed it, as the opera Boris Godunov was created in the midst of reforms in Russia after the abolition of serfdom, between 1868 and 1872, when the autocracy, which seemed unshakable, was shaken, made concessions to society. The composer himself worked on the libretto, additionally referring to the History of the Russian State.
Mussorgsky understands the intensity of passions boiling in the hero's soul. In fact, he is a good person - Boris Godunov. The opera, step by step, scene by scene, shows how a thirst for power draws a person, at first not especially striving for this power. If in the prologue of the opera Boris categorically rejects the throne, then later, having agreed to accept the crown, he is tormented by doubts (the soliloquy âThe Sorrow of the Sorrowâ monologue).
In parallel, the storyline of the runaway monk Grishka Otrepyev, who learned from the old man Pimen the story of the death of Tsarevich Dmitry, is developing. It was Pimen who involuntarily pushed Gregory to flee from the monastery and to the daring idea of ââdeclaring himself a saved prince.
The story of infanticide hovers over the Boris family. The death of the groom of the Tsarâs daughter Xenia, the torment of Godunovâs conscience (the famous monologue âI have reached the highest authorityâ). And the ghost of the murdered prince, who seems to the king. It seems to Boris that it doesnât matter to him anyway that they are bringing news of the impostor.
In the original version, the opera Boris Godunov ended with the scene of his death. Subsequently, in the early 70s, the composer completed the opera, adding a whole scene of the uprising near Kromy - the beginning of troubled times.
There are several editions of the opera, at different times it was edited and instrumented by N. Rimsky-Korsakov, D. Shostakovich, M. Ippolitov-Ivanov. The authorâs edition is also used, more complex and detailed, voluminous in time. Although most theaters perform opera in the treatment of Rimsky-Korsakov.
It should be noted that in the opera the famous basses of different times shone - you canât list all of them, but F. Chaliapin, A. Pirogov, B. Shtokolov and many others created unforgettable interpretations of the image of Boris. The tenor part of the Holy Fool became a masterpiece by I. Kozlovsky. The main female part of Marina Mnishek was written for mezzo-soprano, but it was also performed by soprano, for example, in 1970, she was sung by Galina Vishnevskaya.
The artistic means used by the composer are complex and multifaceted, the through action is combined with memorable individual episodes - monologues, arias. The choirs sound especially powerful in opera.