Moussorgski: Boris Godounov / Raimondi, Wischnewskaja, Plishka, Gedda, Dubosc, Cowan, Rostropovitch (1989 film)

Moussorgski: Boris Godounov / Raimondi, Wischnewskaja, Plishka, Gedda, Dubosc, Cowan, Rostropovitch (1989 film)

Moussorgski: Boris Godounov / Raimondi, Wischnewskaja, Plishka, Gedda, Dubosc, Cowan, Rostropovitch (1989 film)
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Composer: Modest Petrovich Mussorgsky
Conductor: Mstislav Rostropovitch
Performer: Ruggero Raimondi
Performer: Galina Wischnewskaja
Performer: Wyatscheslaw Polozov
Performer: Paul Plishka
Performer: Nicolai Gedda
Performer: Catherine Dubosc
Performer: Richard Cowan
Edition: Music CD
CD Release Date: 1992-05-01
Music Label: Erato
Soundtracks:
Music CD 1
  1. Boris Godounov: Introduction orchestrale: Scene - Eh bien, qu'avez-vous?
  2. Boris Godounov: A quis nous abandonnes-tu ?
  3. Boris Godounov: Fideles croyants, notre boiar reste inexorable
  4. Boris Godounov: Tu as entendu les hommes?
  5. Boris Godounov: Scene du Couronnement, Coronation Scene
  6. Boris Godounov: Mon ame est en peine
  7. Boris Godounov: Encore un dernier recit
  8. Boris Godounov: O Dieu de force, Dieu de Justice
  9. Boris Godounov: Tu as ecrit toute la nuit
  10. Boris Godounov: Oh, je me souviens - Ouglich
  11. Boris Godounov: On sonne les matines - Boris, tout tremble devant toi
  12. Boris Godounov: J'ai pris un caneton gris
  13. Boris Godounov: Peuple chretien, bonnes gens aimes de Dieu
  14. Boris Godounov: Dans la bonne ville de Kazan
  15. Boris Godounov: Pour moi!
  16. Boris Godounov: Qui etes-vous? - D'humbles pelerins, de saints moines
  17. Boris Godounov: Que faites-vous, maudits coquins - Fuite de Grigori
Music CD 2
  1. Boris Godounov: Ou est mon fiance?
  2. Boris Godounov: Oh, c'est assez, Princesse - Chanson du Moustique, Mosquito Song
  3. Boris Godounov: Ah, Nounou, en voila un conte, Jeu de la Main chaude, The Hand-Clapping Game
  4. Boris Godounov: Qu'y a-t-il?
  5. Boris Godounov: Comme c'est bien, mon fils!
  6. Boris Godounov: Aie, chut! - Qu'y a-t-il donc?
  7. Boris Godounov: A cause de notre Perroquet
  8. Boris Godounov: Mon fils, mon cher enfant!
  9. Boris Godounov: Tsarevitch, obeis!
  10. Boris Godounov: Tu ne me crois donc pas?
  11. Boris Godounov: Assez, ah, je suffoque!
  12. Boris Godounov: Au bord de la Vistule bleue
  13. Boris Godounov: Cela suffit!
  14. Boris Godounov: Je n'ai pas besoin de toi aujourd'hui, Rouzia
  15. Boris Godounov: Ah! Mon Dieu! Cest vous, mon Pere!
  16. Boris Godounov: A minuit, dans le jardin
  17. Boris Godounov: Prends-garde, Tsarevitch - La Polonnaise - Nous aurons bientot conquis la Moscovie
Music CD 3
  1. Boris Godounov: Elle! Marina!
  2. Boris Godounov: Eh bien, la messe est-elle finie?
  3. Boris Godounov: Trrr, trrr, trrr
  4. Boris Godounov: Aaah! Boris! Ils ont offense L'Innocent!
  5. Boris Godounov: Nobles Boiars!
  6. Boris Godounov: Eh bien, passons au vote
  7. Boris Godounov: Que dites-vous la, Boiars!
  8. Boris Godounov: Arriere, arriere
  9. Boris Godounov: Auguste Souverain - Mon recit sera simple et bref
  10. Boris Godounov: J'etouffe
  11. Boris Godounov: Pleurez, bonnes gens
  12. Boris Godounov: Amene-le par ici
  13. Boris Godounov: Trrr...le bonnet de fer
  14. Boris Godounov: Le ciel et la lune se sont eteints
  15. Boris Godounov: Hardi! notre male temerite
  16. Boris Godounov: Domine, salvum fac regem
  17. Boris Godounov: Qui le Malin nous envoie-t-il encore

Music reviews of Moussorgski: Boris Godounov / Raimondi, Wischnewskaja, Plishka, Gedda, Dubosc, Cowan, Rostropovitch (1989 film)

Music Review: Stellar performance of Russia's National opera masterpiece!!
Rating: 5 Stars

Let's start with the quibbles, on account of their relative insignificance: 1) I miss the real bells used on the Gjórgiev (especially!!!) and the Abbado recordings (the samples I got to hear alerted me to this - the chimes used here {as in most theatres} sound poor by comparison); 2) the Russian original-language libretto is incomplete (were more space allowed here, I'd have published the missing parts in the original Russian); 3) I wish the orchestra (very good indeed!!!) could be heard more even when the singers are in full voice (this defect relative to Culshaw's Wagner recordings - my standard in taste - also afflicts Rostropóvich's otherwise superb recording of Shostakóvich's "Lady Macbeth of Mcjénsk").

[Regarding point 2: mind you, the French and English translations are quite complete. Otherwise, I recommend downloading the original Russian-language libretto from other websites - and then piecing in the few things that are otherwise absent from the regular-performance libretto from the booklet supplied - Rostropóvich's reading gives this opera (a composite of the 1868 and 1872 versions) as completely as possible (the réprise of the Simpleton's scene in the last tableau, originally salvaged from the St. Vasíljiy's (Basil's) tableau cut in the 1872 version and which however is reinstated in this recording, could have been omitted consequently - though I'm glad it wasn't!).]

Otherwise, a very powerful reading with everybody in peak form fully deserving a full 5 stars - even the venerable arch-star of Russian soprani from 1952-82 (from her début with the Boljshóy to her retirement from live operatic performances - of course she was forced out of the Boljshóy in 1974, together with her husband Rostropóvich, into exile...) Vishñévskaja, who was close to being 61 years of age at the time of this recording, comes off as well as everybody else (you could hardly tell her age)! Another success is that of Mira Zakai as one of the nurses (in Act II) - she's much better here than in Solti's recording of Mahler's 2nd Symphony with the CSO (where she sounds so uninvolved as well as plain when compared to Helen Watts or Maureen Forester). Gedda sings the Simpleton's part as movingly as could be anticipated from somebody who has given so much of his career to the Russian repertoire, while Plishka gives a wonderfully warm Pimjén. As to Ruggero Raimondi - wow, what a wonderfully evocative portrayal of the demented Carj (C pronounced as 'ts' like in "bolts"; 'j' just softens the 'r' somewhat...)!!! One doesn't need a bassus profundus (which he's not - though his low notes lack nothing!) to do justice to this rôle after all... No less noteworthy: a stunningly beautiful piece of work on the part of treble Matthew Fish in the rôle of Fjeódor, which - together with the children's choir used in some of the chorus parts - also adds some lovely touches of authenticity without sacrificing anything in the way of artistic quality!! To boot, Rostropóvich gives a wonderfully taut yet extremely flexible and musical reading to the score and his orchestra responds with some wonderful playing!

Finally, regarding the version of the score being used: while it's indeed based on the 1872 "definitive" version, much stuff cut therefrom which was in the 1868 original version makes it into the recording (not a note is cut from the score). While obviously the earlier version of Act II as well as a few other snippets in Act I (when Grigóriy wakes up) are superseded (the latter's snippets are merely the same music given to offstage choir instead of the strings as done initially), other things (e.g., the dismissal of the crowd in the Prologue's 1st scene, the scene in front of St. Vasíljiy's Cathedral) are fully reinstated - all of this can be vouched for from the full score 2-book set published by Oxford University Press giving Musórgskiy's original version.

Most definitely and strongly recommended in all events and regards!!! [Hopefully Erato will reissue this recording as it's amply deserving!]
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