[Met Performance] CID:82080



Boris Godunov
Metropolitan Opera House, Mon, November 20, 1922


In Italian



Boris Godunov (56)
Modest Mussorgsky | Modest Mussorgsky
Boris Godunov
Fyodor Chaliapin

Prince Shuisky
Angelo Bad?

Pimen
Jos? Mardones

Grigory
Edward Johnson

Marina
Margarete Matzenauer

Varlaam
Paolo Ananian

Simpleton/Boyar in Attendance
Giordano Paltrinieri

Nikitich
Louis D'Angelo

Shchelkalov
Millo Picco

Innkeeper
Henriette Wakefield

Missail
Pietro Audisio

Xenia
Ellen Dalossy

Feodor
Raymonde Delaunois

Nurse
Flora Perini

Lavitsky
Carl Schlegel

Chernikovsky
Vincenzo Reschiglian


Conductor
Gennaro Papi





Orchestration by Nicolai Rimsky-Korsakov
Translation by M.Delines, E. Palermi, G. Pardo
Synopsis of Scenes
Act I, Scene 1: The wall of Novodievitchi Convent, in the Great Environs of Moscow
Act I, Scene 2: A cell in the Convent of Miracles
Act I, Scene 3: The square between the two Cathedrals of the Assumption and of the Archangels
Act II, Scene 1: An inn on the frontier of Lithuania
Act II, Scene 2: Apartments of the Czar in the Kremlin at Moscow
Act II, Scene 3: Garden of the Castle of Michek
Act III, Scene 1: The forest of Kromy
Act III, Scene 2: Hall of the Duma in the Kremlin
Chaliapin always sang Boris in Russian.

Review 1:

Review in the New York Tribune

Chaliapin Repeats Personal Triumph in 'Boris Godounoff'

Edward Johnson Takes Part of False Dimitri; Talkative Members of the Audience Prove a Trial

"Boris Godounoff" with Mr. Chaliapin in the title role, had its second presentation of the season last night at the Metropolitan. It was again a personal triumph for that rarely gifted singing actor, and one richly deserved. A more thrilling portrayal of the terror-haunted Czar, a portrayal of almost incredible authenticity, terrible in its passionate intensity.

The part of the false Dimitri was taken for the first time by Edward Johnson, who strengthened the excellent impression made at his first appearance with the company last week. His ease and distinction of manner and admirable singing were highly considerable features.

The score of this opera is one of such continuous beauty it is a pity that it does not seem to be more self-revelatory. It was apparently necessary last night for a good third of the audience to be continually telling the rest what it was all about. The persistent talkers may have been very entertaining to their companions, but they were a considerable trial to those who preferred to let the music and acting on the stage speak for themselves. Certainly, while Mr. Chaliapin was on the stage his superb acting needed no interpretation.



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