Mussorgsky, Boris Godunov

Mussorgksy’s opera Boris Godunov exists in many versions, most with an inherent logic and which one production or another might legitimately favor for different reasons.  One version of the opera, however, should never be performed, except possibly as a curiosity: the original version, which was rejected by everyone including the composer himself for its complete lack of drama.  While the figure of Boris Godunov himself goes through a character development, everyone else is a stick figure, and this even makes it difficult for Boris to interact.

I know the many versions of this opera well.  I have also seen this original version staged twice myself – once in Geneva in 2003 (that failed) and once in Moscow in 2011 (at the Vishnyevskaya Opera Center, which used it as a venue to display a particularly exceptional student in the title role rather than as a fully-staged developed version, and the Center’s emphasis on acting meant the supporting characters got the little details right).

Yet, in an era of financial crisis, it beggars belief why the Staatsoper would hire a director who chose to stage Mussorgsky’s original version, as they did in 2012 with director Yannis Kokkos.  The music remains wonderful, but Kokkos gave us nothing and the evening ended unfulfilled.  Born in Greece, Kokkos has worked his entire career in France, which may explain the utter lack of drama (a good Greek word, but clearly the French influence has rubbed off).

Costumes were contemporary (or maybe 1990s) Russian, which combined with the intentially dark lighting meant I had unpleasant flashbacks of walking the streets of Moscow, city of 18 million miserable wretches, during my time working for the Russians.  The sets had no discernable logic, mixing semi-abstract iconography (to represent the churches) with geometric colored shapes (representing nothing in particular), and an assortment of odd furniture (and a ladder) that looked like the Staatsoper ran out of money before they completed the staging (or Kokkos entrusted the money to the mafiosi who run the Bolshoi and they absconded with it).  Some of the scenes contained an enormous statue with its back to the audience, which looked like it could have been Lenin.  And Kokkos also installed subterranean cisterns (or something), so that characters could sometimes make their entrances from steps emerging in the middle of the stage.  At one point, so did a bloodied child, representing the murdered Dmitri Ivanovich walking the earth again (I suppose if Kokkos selected the only version of this opera that lacks drama, he had to invent some of his own).

Ferruccio Furlanetto strove mightily to portray the title role under these circumstances.  His voice began, like his reign, hopeful and almost sweet, and became more nuanced as his character slowly decayed.  Norbert Ernst as Shuisky contrived and plotted his way through the evening – the real evil character in this opera, who sets up Boris for mental ruin (did Kokkos give him a Lenin goatee for a reason, or does Ernst normally wear his facial hair that way?).  Pavel Kolgatin as the holy fool also shone in his small but critical role.  The rest of the cast just struggled to make something dramatic of this version and senseless staging.  Kurt Rydl especially disappointed as Pimen – a mainstay of the Staatsoper, he displayed his customary full lower bass, but missed every note in the upper half of his register, rasping instead of singing.

In the pit, the German conductor Michael Güttler also failed to inject drama.  He did nothing to augment the thin scoring of this early version, and he never managed to get the chorus (apparently imported from Slovakia, according to the program) to sing in time with the orchestra.  He did flail his arms a lot, so I suppose that was dramatic.

Meanwhile, the Staatsoper appeared in a hurry to get the whole production over with: an early start time (6:30 p.m. on a weeknight!?!?) combined with zero intermissions ensured we finished long before 9:00.  They must have sensed that they wasted their money on this production.  A better idea: since the Staatsoper has been digging out old successful stagings from their warehouse, maybe it is time to cancel the rest of this run and find some old Boris sets in storage from an intelligent director, and then stage any one of the possible versions of this opera except the correctly-rejected original version.

On the other hand, the music was beautiful if I ignored everything else.  For that, it was worth buying a ticket.

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