- 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)
Mussorgsky: Boris Godunov [DVD] [Alemania]
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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)
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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.
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.
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.
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.