Stark, rough-hewn, a dark mix of high and low: Mussorgsky’s original 1869 Boris Godunov is a formidable beast, and one that has been gaining foothold on the operatic stage. It's less narratively coherent and abounding in splendid tableaux than its 1872 reworking, but there's great thrill in its pared-down musical and dramatic directness. Its Budapest premiere fits well into the Hungarian State Opera’s drive for programming repertoire works’ “rare” versions, and it’s certainly a more compelling piece than Der fliegende Holländer’s 1841 Urfassung, or the Wagnerian and Straussian reworkings of Gluck’s Iphigénies. This Hungarian State Opera premiere, however, couldn’t make an argument for the original Boris.
Clearly conceived as a vehicle for Gábor Bretz, this Godunov found its star shining dimly. Bretz can always cut a suitably sinister figure on stage, but his attractive bass-baritone felt pale and unfocused, lacking gravitas for his first two scenes. Ironically, he came alive the most in Boris’s death scene, giving an expressive, emotionally compelling account of the tsar’s farewell.
As his main opponent, Botond Ódor's Grigory (and the Holy Fool) was sung with a bright but thin tenor, unimpressive in vocal stature despite constantly helpful positions front and centre. Among the supporting cast, András Palerdi’s stolid Pimen, Andrea Brassói-Jőrös’s resplendent Xenia, and the ever-reliable Laura Topolánszky’s Fyodor were notable, while in the minor role of the Police Officer, Bence Pataki showed off an impressive young bass.
Alan Buribayev had the thankless task of taking over from Balázs Kocsár just two weeks before the premiere. Even affording due leniency, his conducting was extremely uneven, with dragging tempi and puzzlingly disjointed phrasing that weighed down the dramatic flow, turning the initially towering Coronation Scene lacklustre and Varlaam's scene-stealing song lifeless. With respectable contributions from orchestra and chorus, Buribayev occasionally managed to inject life into the performance, showing flashes of the dramatic brilliance Mussorgsky’s score abounds in, but such brilliance did not characterise his overall delivery.
Director András Almási-Tóth flexes his penchant for (cynical) subversion as he did in last season’s Idomeneo. Turning every relationship and dramatic situation into its opposite, however, doesn’t itself a coherent interpretation make: here, it only succeeds in undermining an existing dramaturgical structure without constructing something else in its place.