Mussorgsky - Khovanshchina / Ghiaurov · Ciepi · Cossotto

Mussorgsky - Khovanshchina / Ghiaurov · Ciepi · Cossotto

Mussorgsky - Khovanshchina / Ghiaurov · Ciepi · Cossotto
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CD Details

Edition: Music CD
Format: Box set
CD Release Date: 2000-05-23
Music Label: Opera D'oro
Soundtracks:
Music CD 1
  1. Prld ('Dawn On The Moscow River') - RAI Orch, Rome/Bogo Leskovich
  2. Act One: I'll Go, Go... To Ivangorod... - Angelo Marchiandi/Carlo Del Bosco/Teodoro Rovetta/Herbert Handt
  3. Act One: Hey! Hey You! Scribbler! - Siegmund Nimsgern/Herbert Handt/RAI Chor, Rome/Angelo Marchiandi/Teodoro Rovetta...
  4. Act One: Once There Lived A Godmother - RAI Chor, Rome/Herbert Handt/Angelo Marchiandi/Teodoro Rovetta/Carlo Del Bosco
  5. Act One: Children, My Children! - Nicolai Ghiaurov/RAI Chor, Rome/Angelo Marchiandi/Teodoro Rovetta/Carlo Del Bosco
  6. Act One: Praise The Swan, The White Swan - RAI Chor, Rome/Angelo Marchiandi/Teodoro Rovetta/Carlo Del Bosco
  7. Act One: Let Me Go! Leave Me, Let Me Go! - Mietta Sighele/Veriano Luchetti/Fiorenza Cossotto
  8. Act One: Well Well, Prince! - Fiorenza Cossotto/Mietta Sighele/Veriano Luchetti/RAI Chor, Rome/Teodoro Rovetta...
  9. Act One: Lord! Let Not The Enemy Powers Be Victorious - Cesare Siepi/Fiorenza Cossotto/Elena Souliotis
  10. Act Two: Warmest Greetings To You, Vasenka, My Precious One - Ludovic Spiess/Ubaldo Carosi
  11. Act Two: I Am Aware Of Your Hallowed Custom, Prince - Giovanni Sciarpeletti/Ludovic Spiess/Ubaldo Carosi/Fiorenza Cossotto
  12. Act Two: Mysterious Powers - Fiorenza Cossotto/Ludovic Spiess
Music CD 2
  1. Act Two: So That Is What My Future Promises Me - Ludovic Spiess
  2. Act Two: We Are Here Without Announcement, Prince! - Nicolai Ghiaurov/Ludovic Spiess
  3. Act Two: Princess, Calm Your Anger - Cesare Siepi/Ludovic Spiess/Nicolai Ghiaurov/Fiorenza Cossotto/Elena Souliotis/Ubaldo Carosi
  4. Act Two: Princess! The Tsarevna Commanded Me - Siegmund Nimsgern/Nicolai Ghiaurov/Cesare Siepi
  5. Act Three: We Shall Bring Disgrace Upon Them - Cesare Siepi/Fiorenza Cossotto/Elena Souliotis
  6. Act Three: There Went A Young Maiden Through Meadows And Marshes - Fiorenza Cossotto/Elena Souliotis
  7. Act Three: Dreadful, Irredeemable Sin - Elena Souliotis/Fiorenza Cossotto/Cesare Siepi
  8. Act Three: In The Streltsy Quarter All Are Sleeping - Siegmund Nimsgern/Angelo Marchiandi/Teodoro Rovetta/Carlo Del Bosco/RAI Chor, Rome
  9. Act Three: Ah, You Damned Drunkards, Ah, You Hopeless Loafers - RAI Chor, Rome/Angelo Marchiandi/Teodoro Rovetta/Carlo Del Bosco
  10. Act Three: What's The Matter? - Angelo Marchiandi/Teodoro Rovetta/Carlo Del Bosco/RAI Chor, Rome/Herbert Handt
  11. Act Three: Greetings To You, Children - Nicolai Ghiaurov/Teodoro Rovetta/Carlo Del Bosco/RAI Chor, Rome
Music CD 3
  1. Act Four: I, A Young Lad, Spent The Night Down By The Brook - RAI Chor, Rome/Nicolai Ghiaurov/Giovanni Sciarpeletti
  2. Act Four: (Dance Of The Persian Slaves) - RAI Orch, Rome/Bogo Leskovich
  3. Act Four: Why Are You Here? - Nicolai Ghiaurov/Siegmund Nimsgern/RAI Chor, Rome
  4. Act Four: Just Look! - RAI Chor, Rome
  5. Act Four: Fate's Decree Has Been Fulfilled - Cesare Siepi/Fiorenza Cossotto
  6. Act Four: Ah, You Are Here, You Wicked Woman! - Veriano Luchetti/Fiorenza Cossotto
  7. Act Four: Have No Mercy - RAI Chor, Rome/Teodoro Rovetta/Carlo Del Bosco/Claudio Strudthoff
  8. Act Five: Here In This Holy Place - Cesare Siepi/Fiorenza Cossotto/Elena Souliotis
  9. Act Five: Enemy Of The People, Prince Of The World, Arise! - Cesare Siepi/Fiorenza Cossotto/Elena Souliotis
  10. Act Five: They Have Gone Away - Fiorenza Cossotto/Veriano Luchetti/Cesare Siepi
  11. Act Five: Be Praised, Lord Of All Glory! - Cesare Siepi/Fiorenza Cossotto/Elena Souliotis/Veriano Luchetti/RAI Chor, Rome

Music reviews of Mussorgsky - Khovanshchina / Ghiaurov · Ciepi · Cossotto

Music Review: What a cast!
Rating: 4 Stars

The fact that this Khovanshchina is in Italian and not in Russian deterred me from obtaining this recording for many years. It should not have. Much to my surprise, the Italian did not bother me at all, and I speak Russian.

The great Bulgarian bass Nicolai Ghiaurov is clearly the most familiar and comfortable with this musical idiom and style. His role is not terribly vocal; he rarely gets to sing anything that resembles an arching bel-canto line. Yet despite this one still gets plenty of opportunities to hear his glorious, sonorous voice pour out generously. In 1973 his voice was in great shape, and even though one hears occasional notes and phrases that foreshadow his vocal decline, he handles the considerable vocal demands of this role masterfully. Of course, his characterization is wonderfully vivid. What a fantastic artist he was!

Cesare Siepi is Dosifei. I have always loved his voice, his noble timbre. It is just right for the role. Unfortunately on this recording his tone is often under-energized and a bit under the pitch. Sometimes he is simply overwhelmed by the tessitura and unable to deliver the dramatic punch necessary in the big confrontation scenes with Galitzin and with Susanna(that becomes even more apparent when one hears the great Nicola Ghiuselev absolutely ROAR in those scenes, on the live recording from Sofia, 1975). However, his aria in Act V is touchingly and beautifully sung.

Veriano Luchetti is quite wonderful as Andrei. It's not an easy role to sing, but he handles the vocal and dramatic demands admirably. Ludovic Spiess' tenor is not as warm as Luchetti's; his timbre is a bit shallow and his vowels are often spread on top. This, however, works well for his unsympathetic character.

Now, Fiorenza Cossotto. Absolutely wonderful! Marfa, I think, is really a contralto role (imagine it sung by Maureen Forester!). It lies very low for most mezzos. And it is not just a matter of tessitura; there is also the issue of registration. Much of the role is written right around the break between chest and middle voice, like the Act III aria, for example. But Cossotto proves herself to be a really intelligent, skilled vocalist here. This is a singer who has sung high mezzo roles, like Eboli and even soprano roles, like Lady Macbeth. Yet she apparently has no problem singing contralto roles like Ulrica and Marfa. She has all the notes, all the way down to low G, and she negotiates the register changes very smoothly and skillfully. Her arias in Act II and III are sung beautifully, but she is most moving in the final scene, with Andrei.

And then talk about luxury casting: Elena Suliotis as Susanna! Marvelous! What a pleasure to hear that glorious sound again! And how wonderful it is to hear her really express the character's fanaticism. The scene between Cossotto and Suliotis is probably my favorite moment on this recording. I know 1973 is late prime for Suliotis, but I assure you, you will not be disappointed by her singing; it's just great!

Sigmund Nimsgern is just perfect for the role of Shaklovity. His voice has just enough "acid" for the character. He sings his deceptively difficult aria quite well, capping it with an impressive high G.

The conductor, orchestra and chorus are quite wonderful. The sound is great, although the immense power of Ghiaurov's voice tends to overwhelm the recording equipment once or twice. Even though the opera acquires a somewhat unusual flavor in Italian, the collaboration of these great artists is something really worth hearing. I'd get it if I were you; I am glad I did.
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