Mussorgsky’s Boris Godunov is a huge, sprawling canvas of Russian life. Its four hours include a host of characters familiar to us from Russian literature: drunken priests and policemen, conniving noblemen, simple peasants, dastardly Western enemies and that particularly Russian conceit of the holy fool. The opera’s action takes place in the streets of Moscow, in taverns, in state rooms of palaces and in their intimate inner spaces.
Coming to see Boris at the Mariinsky is an experience not to be missed: you’re hearing a superb native Russian-speaking chorus and one of the world’s great opera orchestras, all of whom have this music in their blood. However, that doesn’t guarantee all round perfection, and while some parts of last night’s performance fully lived up to expectations, a number of things were out of kilter – not least due to the late withdrawal of Mikhail Petrenko from the title role. In the event, we had not one but two replacement Borises: Edem Umerov in the first half and Vladimir Vaneyev in the second.
What worked, on every level, were the crowd scenes. In Andrei Tarkovsky’s venerable production (now in its 34th year), the seething masses swirl around whoever are the protagonists of the moment, and we get a vivid take on Mussorgsky’s humourous pointing out that most individuals in a crowd don’t really know what’s happening or why. The chorus are in wonderful voice, with the basses sounding like they do in no other country. And the orchestral sound is huge, full and rich, the giant church bells (real ones, no sampling here) tolling with magisterial timbre.
The problem is that there’s far too much of the orchestral sound for almost all of the soloists, almost all of the time – the more so when they are singing from the raised back of the stage, as they often do. In far too many of the key moments in the opera, I had to strain desperately to hear the singing; there were some pianissimi that I couldn’t hear at all. All of Umerov as Boris, Mikhail Kolelishvili as Varlaam, Mikhail Kit as Pimen and Yevgeny Ivanov as Shuisky suffered from this to a greater or lesser extent, and any sense of dramatic involvement was diminished as a result. The Mariinsky Orchestra were producing a fabulous sound, but I do feel that conductor Pavel Smelkov should have been reining them in.