Talk:Boris Godunov (opera)

From Wikipedia, the free encyclopedia

	This article falls within the scope of the Opera WikiProject, a collaboration to develop Wikipedia articles on operas and opera terminology, opera composers and librettists, singers, designers, directors and managers, companies and houses, publications and recordings. The project talk page is a place to discuss issues, identify areas of neglect and exchange ideas. New members are very welcome!
B	This article has been rated as B-class on the quality scale.

Contents 1 Synopsis: Cathedral Scene Intro 2 Boy Soprano 3 Duplicate scene 4 Russian Names 5 Tchaikovsky Vs. Mussorgsky 6 Marina's part 7 Number opera

[edit] Synopsis: Cathedral Scene Intro

Working of political machinery? I hope noone will object the deletion of this sentence.Red Plum 23:31, 9 July 2007 (UTC)

I wrote that remark. It is obviously a subjective interpretation. Nevertheless, it is an apt interpretation. Mussorgsky's intent in making the addition to the preceding scene (Novodevichiy Monastery) of the policeman (not present in the Pushkin drama), with his insistent hammering motif, is to depict the agents of Boris engineering his accession to the throne by force, if necessary, against the will of the powerless, ignorant, and exploited people. The mysterious and somewhat sinister introduction to the "Coronation Scene" evokes (to me at least) a great mechanical wheel (or clock) of fate that has been set in motion, initiating the tragedy that unfolds later in the opera. Regarding this passage as merely a colorful introduction of bell sounds does a disservice to the composer's psychological genius. However, since Wikipedia does not condone subjective remarks or personal research, you may remove it if you wish. Ivan Velikii 00:09, 17 July 2007 (UTC)

[edit] Boy Soprano

1) Would the person who added "Boy Soprano" to the Roles-Fyodor-Voice section (or anyone else for that matter) please give evidence that the composer provided this option? It may be an occasional practice (the Rostropovich recording is the only example of which I am aware), however unless the composer sanctioned this practice in written form, it should not be mentioned, IMHO. Ivan Velikii 18:36, 27 October 2006 (UTC)

2) I have reverted an edit made to add "boy soprano" to the roles table for the second time, and will continue to do so until the anonymous editor quotes a musicological authority who provides a historical justification for this practice. Ivan Velikii

[edit] Duplicate scene

Regarding edit by Pompervoor: Undid your revision removing duplicated scene (Yurodiviy & Urchins) from synopsis. That is the way the composer left the score. Perhaps you are making the synopsis conform to the cut version of Act 4, which is used only when including the "St. Basil's Scene" and "Kromi Scene" in the same performance (see under Performance Practice) Ivan Velikii 07:03, 3 May 2007 (UTC)

[edit] Russian Names

Please don't change the spelling of the Russian names in this article, unless you at least identify yourself and provide a very good reason. I have reverted the edits of Fyodor to Feodor, Kseniya to Xenia, and (oddly) Mityukha to Mitiukha. I did change the -skiy suffixes to the conventional -sky as I can see I am fighting a losing battle on that front. However, Kseniya, Fyodor, and Mityukha are superior to Xenia, Feodor, and Mitiukha, because they are:

1) More Russian

2) More accurate transliterations

3) More accurate pronunciations

Perhaps these changes were made to conform to the spellings often encountered in recording librettos, or are more traditional. These are both poor reasons to change these spellings.

I know 'Fyodor' is sometimes pronounced with 3 syllables (even in the opera by the title character!) but the 2-syllable version is more consistent. And yes, 'Xenia' was perhaps derived from a Greek/Byzantine name which used an 'x', but anyone can see the Russian version has a 'k' at the beginning ('Aleksandr' is superior to 'Alexander' for similar reasons). And 'Mitiukha' can acquire a 4th syllable with this spelling (BTW: Can anyone explain why the chorus leaves off the 3rd syllable in the 1st scene?)

Please don't claim I am being pedantic, or that we have to dumb it down for the 'non-specialists' -- that is rubbish. Wikipedia is a place to learn, not to repeat tired conventions. Read the composer's biography. He was an enemy of convention.

I have been working on this article for some time, and am personally responsible for more than 99% of the text (and all the pictures) as it now stands. I think that entitles me to some latitude in small matters of spelling.

With all the lacunae in Wikipedia, I think there are better places to make contributions or edits, unless you have something really important to say about this work. Ivan Velikii 06:11, 11 May 2007 (UTC)

[edit] Tchaikovsky Vs. Mussorgsky

If I remember correctly, Tchaikovsky has made some comments concerning Boris Godunov, and on Mussorgsky in general, and vice versa. Does anyone can quote? AdamChapman 18:15, 13 May 2007 (UTC)

Calvocoressi: "...there was in Moscow a strong opposition to Mussorgsky's music. Tchaikovsky, while acknowledging that it did not lack power, deplored its clumsiness and ugliness. Sergey Taneyev ...loathed and derided it." Mussorgsky in a letter quotes some remarks Tchaikovsky (whom he refers to as "Sadyk-Pasha", and a "worshipper of pure musical beauty") made upon hearing the him play portions of 'Boris' at a gathering. Hearing the 'Parrot Song' he "effervesced furiously" and was shocked by the Polonaise. Tchaikovsky's comments, overheard by Mussorgsky, were "Has power... but wastes it" and "...would be useful to work at ...a symphony (in regular form, of course)." If I remember correctly, Tchaikovsky makes some interesting comments about Mussorgsky in his letters to N. von Meck (which I do not have at hand, perhaps someone else can quote). Ivan Velikii 04:52, 24 May 2007 (UTC)

The remarks by Tchaikovsky that I put at the beginning of the Critical Reception section sum up pretty well his attitude towards Mussorgsky, his music, and Boris Godunov. Ivan Velikii 07:39, 24 June 2007 (UTC)

[edit] Marina's part

The article puts Marina as a mezzo-soprano. I know her role is quite low for a soprano, and that in Rimsky-Korsakov's score she is a mezzo indeed, but originally the part was written for Julia Platnova, who was I believe a soprano. Moreover, the part has also been sung by sopranos afterwards, like Vishnevskaya, who recorded both Rimsky's version and the original. So is it truly a mezzo role, or soprano, or both? AdamChapman 15:21, 21 May 2007 (UTC)

I have looked, but cannot find the answer to this mystery. Somebody please solve this one. Ivan Velikii 00:22, 17 July 2007 (UTC)

[edit] Number opera

It's written in he article that "Boris Godunov is essentially a number opera". There are indeed numbers in the opera, but I think that calling it a number opera is exaggerated. AdamChapman 15:04, 11 June 2007 (UTC)

Good point. I put that remark there, mainly after reading Wikipedia's article on musical numbers. But truthfully, I am not qualified to make that remark and will remove it (there are probably many more of my remarks that need support by musical authorities). Perhaps someone more knowledgeable can call this one. Ivan Velikii 08:02, 24 June 2007 (UTC)