En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Boris Godounov

Malgré une distribution de haut vol – dont la révélation Alexander Roslavets, stupéfiant dans le rôle-titre –, cette production de l'opéra de Moussorgski laisse sur sa faim.

L’œuvre titanesque de Moussorgski était proposée dans une mise en scène d'Olivier Py qui tente l’actualisation avec plus ou moins de réussite. La distribution et la direction musicale ne basculent jamais dans la caricature.

L'institution monégasque finit sa saison en beauté avec l'œuvre de Moussorgski, servie par une mise en scène subtile et une distribution impeccable jusque dans ses seconds rôles.

L'opéra de Moussorgski ravit dans toutes ses dimensions : orchestre coloré, baguette haletante de Paolo Arrivabeni, plateau très homogène et mise en scène aiguisée.

Boris Godounov pour la première fois à Bastille dans sa version originale de 1869. Casting excellent, mais la transposition dans l'époque moderne souffre de dissonances avec le livret et la musique de Moussorgski.

Cinquante choristes, un orchestre important, une douzaine de solistes, sans parler de toute la technique : Marseille a relevé le défi de Boris Godounov et s’en tire avec tous les honneurs.

András Almási-Toth production of the original version of Mussorgsky's historical epic underwhelms in Budapest. 

Opening the new opera season, Kent Nagano powerfully directs Mussorgsky's great psychodrama about a famous tsar, marred only by Frank Castorf's visually confusing and symbolically overweighted production. 

Ildar Abdrazakov and Ain Anger excel in the confrontation of tsar and historian; Kaspar Holten's safe but effective staging focuses on the relentless march of history.

That Boris was sung by a Ukrainian in times like this might or might not have been a coincidence. But that Alexander Tsymbalyuk was an excellent choice for the role is indisputable. 

Forget Rimsky-Korsakov, forget the Polish act... Stephen Wadsworth's new production for The Met returns to Mussorgsky's original 1869 version of his Russian historical epic. 

Sergej Newskis Neukomposition wird mit Mussorgskys Oper in einer effektvollen Produktion verwoben.

A title role performance full of depth from Terfel and a barnstorming comic interlude from Tomlinson provide some great moments, but much of this Boris fails to rise above the ordinary.

This year’s NTR ZaterdagMatinee concert series in Amsterdam kicked off with a Boris Godunov that left nothing to be desired.

In Tarkovsky's venerable production, the Mariinsky orchestra and chorus are brilliant – but too brilliant for their soloists, including two replacement Borises for an indisposed Mikhail Petrenko.

The Stockholm Concert Hall hosts the Göteborg Symphonic Orchestra and Opera Chorus for a concert performance of Mussorgsky's Boris Godunov.

Peter Konwistchny scores audience success with his new production of Boris Godunov, a theatrically inventive critical take on manipulation and the disfiguring effects of power.

Bryn Terfel and Sir Antonio Pappano brought their excellent interpretation of the 1869 version of Mussorgsky's seminal opera to the Royal Albert Hall for a one-off revival.

René Pape überzeugt bei seinem Rollendebüt an der Wiener Staatsoper als hellstimmiger Boris Godunow.

Richard Jones new production of Mussorgsky's episodic epic has plenty of strengths, but is marred by unappealing designs and rushed tempi.

If Russia is a riddle wrapped in a mystery inside an enigma, then Boris Godunov is about five Russian dolls' worth.

Matti Salminen and conductor Leif Segerstam come together, probably for the last time, to give us an excellent evening's opera which touched the heart of Boris Godunov – a Finnish swan song as potent as anything penned by Sibelius.

Mikhail Kazakov gives a compelling portrayal of the troubled Tsar Boris, as Gergiev and the Mariinsky provide a great showcase for one of the masterworks of Russian music.

Mussorgsky’s rich, complex music and Boris Godunov’s tragic story is told with very original vision in Tugan Sokhiev’s concert version. The Salle Pleyel made no mistake about it: this Boris will stay in our memories for a while.

In the early years of the 20th century, along the streets of Paris, a society of writers, artists, and musicians—among them Maurice Ravel—known as Les Apaches would exchange the secret greeting devised for members to recognize each other.

  Read our review of Stephen Wadsworth's production of Mussorgsky's Boris Godunov in its 2010 broadcast from the Met Opera in New York.