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Mussorgsky: Boris Godunov [DVD] [Alemania]

4.0 de un máximo de 5 estrellas 1 opinión de cliente

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Descripción del producto

Descripción del producto

Boris Godunov is the story not only of a troubled leader but of an entire nation, and its history is as eventful as that of Mother Russia herself. In this new production, the legendary director Andrei Konchalovsky presents a personal vision of the opera that takes Mussorgsky's bare and monumental first version as its basis, while adding the final scene from the composer's revision, in which not only the Tsar but the people themselves reveal their fatal flaws. Orlin Anastassov stars in the title role, conducted by Gianandrea Noseda.

<h3 class="productDescriptionSource">Press Reviews

"Orchestrally and vocally outstanding." (The Opera Critic)

"Anastassov is vocally and physically imposing as the Tsar. It is not, I think, being fanciful to say that from early on his staring eyes reflect the first signs of Boris's mental derangement. " (International Record Review)

"Best is Gianandrea Noseda's fluent and urgent conducting." (BBC Music Magazine)

"...the glinting, desperate, trapped eyes of Orlin Anastassov's Tsar and the fussy sweat-wiping mannerisms of Peter Bronder's Shuisky create an apt other-worldly presence. Both too are in fine voice." (Gramophone)

Orlin Anastassov (Boris)
Ian Storey (Grigory)
Vladimir Vaneev (Pimen)
Peter Bronder (Prince Shuisky)

Chorus and Orchestra of the Teatro Regio; Gianandrea Noseda

Stage Director: Andrei Konchalovsky

Catalogue Number: OA1053D
Date of Performance: 2010
Running Time: 164 minutes
Sound: 2.0LPCM + 5.1(5.0) DTS
Aspect Ratio: 16:9 Anamorphic
Subtitles: EN, FR, DE, ES
Label: Opus Arte


'Orchestrally and vocally outstanding'' (The Opera Critic)

I rate the performance highly (IRR,Oct'11)

The staging if this new production should please traditionlists with its literal evocation of late 16th-century Russian clothing.Francesca Nesler's filming is sensitive to the angles of Graziano Gregori's set and to its lighting. (Gramophone,Jan'12)

Detalles del producto

  • Actores: Ian Storey, Vladimir Vaneev, Peter Bronder
  • Directores: Modest Mussorgsky, Andrei Konchalovsky, Gianandrea Noseda
  • Formato: Clásica, DVD Audio, NTSC, Pantalla ancha, Importación
  • Audio: Ruso (Dolby Digital 2.0), Ruso (DTS 5.1), Inglés
  • Subtítulos: Inglés, Francés, Alemán, Español
  • Región: Todas las regiones
  • Relación de aspecto: 1.78:1
  • Número de discos: 1
  • Calificación FSK: Para todos los públicos. No se nos ha facilitado la calificación española por edades (ICAA), pero puedes consultarla en la página oficial del ICAA. Las calificaciones por edad y/o versiones de otros países no siempre coinciden con la española. Más información sobre las diferentes calificaciones por edad.
  • Estudio: Opus Arte (Naxos Deutschland GmbH)
  • Duración: 165 minutos
  • Valoración media de los clientes: 4.0 de un máximo de 5 estrellas  Ver todas las opiniones (1 opinión de cliente)
  • ASIN: B0054QZ8PM
  • Clasificación en los más vendidos de Amazon: nº42.889 en Cine y Series TV (Ver el Top 100 en Cine y Series TV)

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Formato: DVD Compra verificada
Si bien los cantantes no están a la altura de los grandes Mark Reizen o Gueorguy Nielepp esta versión es la mas autentica y homogénea que he escuchado. El trabajo de Khonchalovsky es estupendo .
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Opiniones de clientes más útiles en (beta) 3.9 de un máximo de 5 estrellas 12 opiniones
37 de 38 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas This is not your father's Boris! 13 de noviembre de 2011
Por Mike Solomon, Chicago - Publicado en
Formato: Blu-ray Compra verificada
Modest Mussorgsky's opera, Boris Godunov, exists in many diiferent forms. For most of the twentieth century Boris was performed in the version that was reorchestrated by Nicolai Rimsky-Korsakov. This was the Boris with which most of us grew up. It featured Rimsky-Korsakov's rich, dark, exotic- sounding harmonies and the stage productions emphasized the awesome pomp and splendor of the imperial tsarist court in sharp contrast to the wretched squalor of the downtrodden Russian masses. For vivid examples of this "traditional" approach look to Soviet- era productions such as director Vera Stroyeva's 1954 film (which displays the strong influence of Sergei Eisenstein and features the greatest af all Russian tenors, Ivan Kozlovsky, as the Holy Fool) or the 1978 video of the Bolshoi Opera showcasing the towering bass Yevgeny Nesterenko as Boris. Both of these are fine productions. Rimsky-Korsakov's Boris Godunov was magnificent in its own right.

In this Opus Arte video under review, however, director Andrei Konchalovsky and conductor Gianandrea Noseda have utilized Mussorgsky's original orchestration. To make the matter more confusing, Mussorgsky himself actually composed two different versions of the work. The original 1869 score had been rejected by the music comittee of the Imperial Theater so Mussorgsky rewrote and expanded the opera in 1872. (An abbreviated production of Mussorgsky's 1872 version is available on DVD in the 1990 video from the Mariinsky theater featuring the English bass, Robert Lloyd Jones as Boris under the baton of a young Valery Gergiev.) Konchalovsky and Noseda, on the other hand, chose the bare and monumental original 1869 version which Noseda calls "the Ur-Boris." They do add one scene from the composer's 1872 revision and that is the scene which takes place in the Kromy forest.

Mussorgsky, who composed the music and wrote the libretto, chose as his sources Pushkin's literary drama, Boris Godunov, augmented by court historian Nicolai Karamzin's History of the Russian State. The action in the opera takes place from 1598 to 1604. This is during the Time of Troubles, an unstable interregnum between the end of the Ryurik dynasty which had ruled Muskovy for 700 years and the beginning of the Romanov dynasty which lasted until the Russian Revolution of 1917.

Ivan the Terrible had been succeeded by his son, Fyodor, a weak ruler who cared only about spiritual matters and left important affairs of state to his brother-in-law, Boris Godunov, who became the de facto regent. In 1591 Ivan's other son, the eight-year-old Tsarevich Dmitriy, died under mysterious circumstances. In 1598 Tsar Fyodor died. Nominated by the Patriarch of the Russian Orthodox Church, Boris Godunov was then unanimously elected tsar by the assembly of the Boyars.

Although modern historians now believe that the actual Boris Godunov had probably not been involved in the death of the Tsarevich Dmitriy, in the opera Boris seems to have played a role in facilitating the assasination. Meanwhile, an ambitious and unscrupulous young monk passes himself off as the living embodiment of the murdered Tsarevich and organizes a popular insurrection. Boris becomes haunted by his own conscience. Driven mad by remorse, he is ultimately undone.

Now, back to the video. By utilizing Mussorgsky's original stripped-down score in combination with stark minimalist stage settings, Konchalovsky and Noseda present us with a rougher, less polished, less refined, more primitive, violent, and raw version of the work than we have ever seen before. The emphasis here is on the nexus of terror that exists between a ruler and his people. This sense of terror extends both ways between the despot and the masses. It is a graphic portrayal of the seemingly eternal tragedy of the Russian people but also has far-reaching universal and contemporary ramifications. Witness recent events in Egypt, Tunisia, Syria, and Libya. Look at the cellphone video footage of a Libyan mob tormenting the tyrant Muammar Ghaddafi prior to executing him.

This production demonstrates both the drawbacks and advantages of state-of-the-art Blu-ray high definition home video versus attending a live performance in the opera house. On the one hand tight close-ups reveal details of makeup that we really ought not to see such as the patently fake strapped-on beards and plastic warts of some of the chorus members. This is balanced by the opportunity to see the main characters up close--in particular bass Orlin Anastassov's Boris who vividly conveys his fear of the people with his rich facial expressiveness.

Another highlight of this production is that many of the main roles are given to native Russian speakers: Boris, Pimen, Varlaam, and particularly the simpleton or "Holy Fool" (the Russian word is Yurodivy) who is the only character in the entire opera who can speak truth to power.

The quality of the picture and sound on this Blu-ray video disc are superb. Viewing it is a dramatically compelling experience. This powerful and gripping performance is a definitive Boris for our time.
14 de 14 personas piensan que la opinión es útil
4.0 de un máximo de 5 estrellas Yes and No 10 de marzo de 2012
Por Dr. John W. Rippon - Publicado en
Formato: DVD Compra verificada
A previous reviwer has described the history of the various versions of Boris Goduvov. Yes, this is the original version as composed by Mussorgsky, the 1869 version and is the one rejected by the censors because there were no women in it. This is the way it was conceived by him before the "improvements" and "recomposing corrections" by Rimsky-Korsakov, Shostakovitch, Stravinsky and others. I and most people my age grew up on the Rimsky-Korsakov version used by Shalyapin in Paris 1908. It had all those strange haunting Eastern harmonies and plush, smooth dream-like orchestration (yes, I miss them). My first Boris was George London and I was captivated by his Boris and this opera as a great artistic achievement. Many others followed as Boris Christoff who had a command of this part that was almost a religious experience, his low notes were so clear and beautiful as to be coming from an organ. Then there were artists as Nicolai Ghiaurov, Martti Talvela, a great favorite Robert Loyd and recently Yevgeni Nesterenko again an organ like voice and skilled as an actor. Robert Loyd sang a somewhat authentic version with scenes from several other editions. The present recording is the original of 1869 with a scene from the 1872 version. So there is no vamp Marina, no evil Jesuit Rongoni and no "westernized" Tschaikovsky-like Polish dances. This is the raw, rough hewn native peasant music of the people of "Mother Russia". And I love it; it is magnificent. The hero of this performance is the chorus. This chorus represents the people of Russia; good people, poor people, bad people, devout people, drunks and thieves. The Turin Chorus is to be congradulated on their great achievement. In the past they have taken on difficult assignments and have succeeded brilliantly as they do here. I don't understand the Russian language but they seemed to be fluent in it and all the charachters in the opera are native Russian speakers so I assume all is authentic.
The sets are sparce but fine; the orchestra sounds great due to the absolute perfection of the conductor Gianandrea Noseda. I loved all the furry coats of the nobles and the rags of the peasants. An altogether great effort with a "yes" for everything except a "no" for the Boris. Anastassov has a big fine voice that needs training and time. He sang the notes and he sang them well but he did not inhabit the part of Boris. Sympathy goes to the simpleton (the "tin hat" that did not wear a tin hat) sympathy did not go to this Boris. After the Boris of Christoff and Nesterenko, this Boris is still a work in progress. Anastassov needs maturity and time.
14 de 14 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas An intriguing and compelling production and performance and well-worth investigating 22 de octubre de 2012
Por I. Giles - Publicado en
Formato: Blu-ray
This production of Boris Godunov from 2010 attempts to make sense of the muddled situation as to which version to perform. There are detailed notes about the somewhat confused situation but to summarise there are no less than 8 existing versions to consider. This is a further solution which brings the choice up to 9 for the next attempt!

Essentially there was an original opera submitted to and rejected by the Mariinsky Theatre in 1869. It seems that the main problem was Mussorgsky's unconventional approach to orchestration which favoured the darker timbres of instruments rather than the usual, more conventional, brighter and easier playing ranges of the instruments. Mussorgsky substantially re-wrote the opera and this version was the one accepted as the 1872 version. Other versions then appeared such as the one by Rimsky Korsakov which attempted to `correct' or improve the orchestration. Further versions tried to re-instate more of the original, now compromised, concept. The current version is an attempt, to my mind successful, to make performing sense of the situation.

The opera is conceived as an historical survey of the reign of Boris Godunov from the murder of the previous child Tsar, through Boris' mental degeneration through to his final death. This is told in a sequence of tableaux grouped in two sets. The first group consists of 4 scenes and the second group consists of the remaining 4 scenes and a concluding epilogue.

This production is completely involving despite the unremitting gloom of the subject matter. I found the orchestration, here performed as originally intended, to be completely effective in setting the moods for all the scenes. The solo singers, of whom there are too many to list separately, are nearly all either Russian or of Eastern European origin and this gives great authority to their delivery of the Russian libretto. There are some stand-out performances which must be mentioned though. The title role given by Orlin Anastassov gives a totally believable picture of the declining Boris with an acting speciality of madly staring eyes. Prince Shuisky is a convincing and devious aide. Boris' son Fyodor is well portrayed and sung by Pavel Zubov. The pretender Grigory, the monk Pimen, and the Holy Fool are all strongly cast and portrayed by Ian Storey, Vladimir Vaneef and Evgeny Akimov respectively.

The Turin chorus is very convincing too and benefits from some very effective make-up and costuming which makes it quite clear how downtrodden the population was at that time. The scenery is minimalist but sufficient to set the scene for each tableau. It serves to underline the effectiveness of the characterisation and the costumes of the main characters and to bring them out in full relief.

The orchestra under the expert and committed direction of Gianandrea Noseda delivers excellent support and both Noseda and director Andrei Konchalovsky provide their comments during the interviews provided as a bonus. Both of these two men were responsible for this adaptation.

The camera work and imaging is of the usual high standard that we have come to expect of Opus Arte and the equally excellent sound is presented in DTS 5.1 and stereo.

This is an intriguing and compelling set and is unlikely to be challenged for a very long time. It should prove to be both satisfying and thought-provoking for most future purchasers and for those reasons it seems reasonable to suggest an encouraging 5 star rating.
17 de 19 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Based on the original 1869 version 5 de noviembre de 2011
Por Leonardo Rodrigues - Publicado en
Formato: Blu-ray
This version is Mussorgsky's original (1869), plus one scene taken from the 1872 version.
The picture and sound quality are pristine and the production is traditional and faithful. Everything is visually perfect - no Eurotrash, no strange costumes and props. Everyone interested in Russian opera should get this one! I can't recommend it highly enough.
8 de 8 personas piensan que la opinión es útil
3.0 de un máximo de 5 estrellas Confusion of versions 20 de febrero de 2013
Por Osvaldo Colarusso - Publicado en
Formato: Blu-ray
Thank goodness one more Boris without the Korsakow's "corrections". It's said that this performance is based on the first version.Not a complete true. The firtst act is really according with the first version, but the confusion begins in act two. The two monologues are in the second version . So, as in the met, we have one mixing of the two versions. The last act has the revolution scene , of the second version, mutilated with a stupid cut. Maestro Nosedda conducts always in a very fast way, always inexpressive. Good things: the singers are very good, and the ideas of the scene director are very interesting. One thing: I never heard a Simpleton so good.The option remains the DVD of Gergiev.

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