Composer: Modest Moussorgsky
Works: Boris Godounov (Rimsky edition) Prologue, Scenes from Acts 2 and 3, Act 4
Performers: Feodor Chaliapin (bass), Salvatore Baccaloni (bass), Dino Borgioli (tenor), Nicola Moscana (bass), Chorus and Orchestra of the Royal Opera House, London / Vincenzo Belleza
Recording: Live performance July 4th, 1928 (plus interpolations)
Label: Guild Historical GHCD2206
Moussorgsky’s “Boris Godounov,” a cornerstone of Russian opera, encapsulates the tumultuous spirit of its era, offering a rich tapestry of psychological depth and national identity. The opera, based on Pushkin’s historical drama, delves into the psyche of Tsar Boris, a ruler grappling with guilt and madness, making it an opportune vehicle for profound vocal interpretation. This particular recording, featuring the legendary Feodor Chaliapin in the title role, serves not only as a testament to Moussorgsky’s genius but also to the interpretative power of its performers.
Chaliapin’s portrayal of Boris is nothing short of iconic. At 55, his voice retains a robust, full-toned quality, albeit with a slight reduction in the youthful fervor characteristic of his earlier recordings. Nevertheless, his ability to manipulate vocal color and dynamic nuance is remarkable. For example, in Boris’s anguished “I am oppressed,” the way he layers his voice evokes the character’s internal turmoil, a masterclass in conveying complex emotions through vocal expression. Chaliapin’s interpretation is underscored by a keen understanding of the character’s psychological landscape, as he shifts from regal authority to vulnerable despair with seamless theatricality. The dramatic arc of Boris’s character, particularly as he grapples with his conscience in the prologue and later in Act 4, is imbued with a palpable sense of urgency and pathos, reinforcing Chaliapin’s status as one of the greatest interpreters of the role.
The supporting cast also deserves commendation, with Salvatore Baccaloni’s Varlaam providing comic relief and a contrasting texture to the darker themes of the opera. His buffo bass is both authoritative and engaging, offering a delightful counterpoint to Chaliapin’s gravitas. Dino Borgioli as Dmitri and Nicola Moscana as Pimen further enrich the fabric of this performance, each bringing unique vocal qualities that enhance the overall impact. The orchestra, under Vincenzo Belleza, supports the singers effectively, particularly in the orchestral interludes that capture the haunting atmosphere of the opera.
Recording quality, as expected from live performances of this vintage, exhibits some limitations, yet the decision to retain the original acoustic imperfections rather than digitally erasing them lends authenticity to this historical document. Moments of surface noise, while occasionally distracting, do not detract significantly from the power of the performance. The sound engineering provides a commendable balance between voices and orchestra, allowing the listener to appreciate the interplay of musical lines even amidst the inherent challenges of 1920s recording technology.
This release, part of the Immortal Performances Series, stands out not only for its historical significance but also for its artistic merit. The inclusion of interpolated passages from other recordings is judiciously executed, ensuring that the narrative remains coherent while highlighting the vocal prowess of the performers. In the pantheon of “Boris Godounov” interpretations, this recording is a vital document, showcasing Chaliapin’s unparalleled artistry and offering listeners a vibrant glimpse into the operatic tradition of the early 20th century.
The artistry displayed in this recording not only honors Moussorgsky’s intentions but also invites a renewed appreciation for the operatic form itself, as it navigates the delicate interplay of history, character, and emotion. Chaliapin’s performance remains an indelible touchstone, enriching our understanding of a work that continues to resonate with contemporary audiences.
