The Israel Opera triumphs once again with Modest Mussorgsky’s Boris Godunov. World-renowned bass Paate Burchuladze’s professionalism adds depth to the unfortunate Tsar, whose complex nature is explored through interactions with his family, his people and his God.
The opera is based on Pushkin’s “dramatic chronicle” of the same name, which, at certain points, resembles Shakespeare’s histories. Those who are unfamiliar with Russian opera will have no trouble following the plot: the action unfolds at a steady pace, with short, bitterly humorous scenes scattered throughout the music for occasional comic relief.
The story takes place during the Time of Troubles, a period of political unrest and uncertainty. Following the childless death of Tsar Feodor I, Boris Godunov is elected Tsar, despite his own disinclination. His reign is ousted by the pretender Dimitriy, real name Grigory. Grigory has assumed the identity of Dimitriy, the former Tsar’s son whose murder was blamed on Boris. The opera traces Boris’ rise to power and eventual downfall, and culminates with the people hailing the False Dimitriy as Russia’s true leader.
As with any good production, the various elements that create an opera come together seamlessly with conductor Keri-Lynn Wilson and revival director Anna Kelo at the helm. This Boris is a production of the Finnish National Opera, and is has been frequently performed there over the past seven years. The production is grand opera as it should be – expressive, authentic and detailed down to the last prop and costume.
The name Paate Burchuladze has been synonymous with Boris in Israel ever since he sang the role in the Opera’s first performance in their current home, almost twenty years ago. He ascends the stage again and delivers a flawless Boris – a role perfected by great bassos such as Chalyapin and Christoff. The fictional Boris differs from the historical figure, who may well have been innocent of the crimes he is accused of, and this ambiguity makes the character all the more interesting. Bearing some similarities to Shakespeare’s Macbeth, he is depicted as a family man and a pious ruler who, in a line repeated in both the play and the libretto, begs God, “Make me as just as Thou”. As his throne is threatened, he is haunted by his sins and, in the Clock Scene, tormented by hallucinations of his victims.
The music helps build up the intricate roles and fills the gaps where the libretto lacks character development. Evgeny Akimov is a brilliant Grigoriy with a smooth and expressive spinto tenor. The opera’s “Polish Act” is brought to life by mezzo Mzia Nioradze’s robust voice and grand stage presence. Mikhail Kolelishvili delivers the colorful role of Varlaam, and Israel Opera regulars Joseph Aridan as Missail and Svetlana Sandler as the innkeeper all perform wonderfully in roles that add a folkloric element to the music. The role of Pimen, the monk and chronicler who foretells Boris’ fate, is portrayed by Israel Opera favorite Vladimir Braun. In the all-important role of the people of Russia, the Israel Opera Chorus shines brighter than ever under the baton of choir conductor Ethan Schmeisser.
Catch the final performances of Boris Godunov this weekend at the Israel Opera. Tickets can be ordered via the Opera’s website.
