Mussorgsky's masterpiece exists in at least six versions: the composer's original seven scenes of 1868-9, his revised and expanded Boris of 1871-2, two subsequent orchestrations and adaptations by Rimsky-Korsakov and two orchestrations by Shostakovich. It is only in recent years that the original version has come into favour, and it is this that Opera Ireland has chosen for the first Irish production of Boris. Acquaintance with Rimsky-Korsakov's colourful misreadings, or even with Mussorgsky's second version, will hardly prepare one for the dramatic intensity of the original, in which Pushkin's rather uninspired historical chronicle has been transformed into a tragedy. Pushkin was trying to write like Shakespeare, but only in the operatic version does Boris achieve Shakespearean proportions.
Mussorgsky uses the orchestra with uncanny skill to support and intensify the recitativelike vocal parts so that, next to Boris himself, or even before him, it is the most important character. Under Alexander Anissimov, the RTE Concert Orchestra responded to all the demands of the action with thrilling effect, even though the work is scored with extraordinary economy. It was as if the players had been gifted with a knowledge of the Russian tongue.
Gidon Saks (bass-baritone) gave a powerful and convincing portrayal of the protagonist, driven by a guilty conscience to insanity and death. Impressive as the Tsar of Russia and frightening in his mad fits, he was always in full vocal control. His scenes with the devious and conspiratorial Prince Shuisky, who was sung with sinister coolness by Volker Vogel (tenor), exemplified the contrast between the two, a contrast ready at any moment to turn into open hostility.
The part of the elderly monk and chronicler, Pimen, sung by the Russian bass Stanislav Shvets, is crucial, for he discloses Boris's crime. Shvets's recital of history was full of narrative energy but it was unfortunate that he did not look much over 25, in spite of a generous grey beard.
The Russian people, represented by over 40 members of the Opera Ireland Chorus, supplemented by Piccolo Lasso in scene six, supply an undercurrent of resignation which contains a latent violence. Their choruses suggest, if only in the massing of voices, that the day of the Godunovs and the Shimskys will not last forever, but when the voice of the people is reduced to the plangent dirge of the Simpleton, sung by William Saetre (tenor), it seems that nothing will change. The people in more cheerful mood are met in an inn, where Varlaam (Gerard O'Connor, bass) sings a ballad to the hostess (Alexandra Durseneva, mezzo-soprano) and is almost mistaken for the presenter Dimitri (Ivan Choupenitch, tenor).
Ansgar Haag's direction of Boris at the Gaiety Theatre could be faulted in details, but with Klaus Hellenstein's striking angled set and anachronistic blend of costumes, it hints, at times in an almost surrealist way, at the length and contradictions of Russian history. All told, this is the most important operatic production to have been seen in Dublin for many years.
Runs tonight, Thursday and Saturday. Booking: 01-6771717
