Customer Reviews

Mussorgsky - Khovanshchina / Abbado, Ghiaurov, Atlantov, Vienna State Opera

5 star:		(7)
4 star:		(1)
3 star:		(6)
2 star:		(0)
1 star:		(1)

 

 

Tolstoy once said: "I like neither talented drunks nor drunken talents" thereby wittily dismissing Mussorgsky. Mussorgsky however cannot be pushed aside so easily ( even if Tolstoy was right; it took no less than three composers to finish the work,
left in a sorry unfinished state.)
Abbado, who is undisputably today's greatest interpreter of
Mussorgsky, chose, very wisely, the Shostakovich orchestration
who created a dark hued, sombre score that he handles masterfully.
In fact we go from the aethereal strings (The Prelude) to the
dark bases representing the brutal strenghth of the Khovanskys
and the ensuing conflicts. Distant trumpets create magical effects. This DVD sound is superb( and if I may say so, you are far better off with this than the exorbiantly priced CD set)
And to see it! The design is incredible. Sets are surrealistic
in a way, full of disturbing images suiting the mood of the moment. Screens sometimes close creating claustrophobic effects,
sometimes opening to infinite vistas. Sometimes we see ruined cities or pyramid of skulls, the latters seems like a constant theme reminding us of the concluding tragedy.
The principals... Nicolai Ghiarov, the world famous basso, acts
and sings with tremendous power, a multifaceted tragic character.
Paata Burchuladze, another marvelous basso, shines as Dosifey the
high priest. We must also mention Anatoly Kocherga in the role of Shaklovity the evil Boyar, thoroughly
frightening, but believable - his great aria in third act is
one to watch for. Ludmila Semtchuk as Marfa is beautifully acted
and sung, she is a real feast for the eye as well as the ear.
Last but not least, Heinz Zednik, the scribbler, ( of Bayreuth's Mime fame) here
he sings in Russian as if the role was created for him.
Note of caution: The music is difficult and requires repeated listenings. Watch it one act at a time as the opera is very long.
But I assure you, you will love this work as I came to love it, being a sceptic at first.
Do I need to sum up? Great musical and theatrical experience.
Opera at its best. Can't recommend it enough.

I do not really know which production of "Khovanshchina" I am reviewing here - as you can see, no data about the performers is available, but it is not a problem as long as I know which one I want to review and recommend. There are three videos of "Khovanshchina" that I know of, but only one that I saw and can comment on: the Vienna State Opera production from 1989 directed by Alfred Kirschner and conducted by Claudio Abbado. For anybody interested in Mussorgsky's operas this video is a must, not only for its visual merits but also for its "soundtrack". Indeed, the live recording of this production is available from "Deutsche Grammophon" but NOT in the USA (with the exception of some CD stores, where you can get it as a special import for a special high price), so for many this video tape may be the only source of Abbado's electrifying rendition of "Khovanshchina" (incidentally, Abbado uses Shostakovich's orchestration, instead of Rimsky-Korsakov's and for the final scene, Stravinsky's version prepared for Diaghilev). And it has many advantages over the CD set: one is, of course, the Vienna State Opera production itself, the other - the recorded sound. The CD's live recording catches a lot of (sometimes quite obtrusive) stage noises, which are not so bothering when you watch the action. The casts of the video production and the CD recording are slightly different (but both uniformly excellent), Marjana Lipovshek (CD) as Marfa instead of Ludmila Semchuk (VHS) and Aage Haugland (CD) as Ivan Khovansky instead of Nicholai Ghiaurov (VHS) being the most notable changes. What pleased me most was the presence of Anatoly Kotcherga in the role of Fyodor Shaklovity in both VHS and CD - his famous aria "Spit streleckoe gnezdo" (act III) is a marvellous tune (you will immediately know which aria it is even if you don't know it - it's one of these instances when, after having heard a piece of music, you wonder how long you could have lived without knowing it). It is one of the most moving patriotic "songs" which - regardless your feelings towards Russia - will melt your heart, especially when sung with such a dedication [Kotcherga and Abbado recorded this aria on a CD devoted to the demonic "Night on the Bare Mountain" and selections from "Khovanshchina" /Sony 7464 62034: "St John's Night on the Bare Mountain" - available at Amazon.com!/]. The Vienna State Opera production is as grim as the story it tells, but also as arresting. It won't lift your spirit but that's not what, I hope, you expect of Mussorgsky's operas. What you'll get instead is a high dose of real musical excitement created by a fantastically cooperating team of soloists, choristers, orchestra members lead by a single man, whose commitment is probably the main source of this production's magic - Claudio Abbado. You'll hear gorgeous choruses, including an extensive one sung and approprietely acted by the drunken Streltsy (act III). You'll hear horns and majestic bells! And you'll see murder - one attempted and one successful! It is a good place for a warning - do not start watching this tape without some basic notes on historical background of the opera's events (if you can't find any, I will be glad to send some xeroxes - I, myself, am not an expert on the Russian history) - the political plot is somewhat complicated and is not always clear from the libretto itself (even with English subtitles), but with a short history lesson you will be able to follow it without too much trouble. It is a fascinating period in the Russian history and is worth exploring not only for Mussorgsky's "Khovanshchina"! If you like musical and theatrical explorations, this video is for you.

If you love powerful music, political intrigue, epic historical drama, and rich characterization, do not miss Mussorgsky's Khovanshchina. It is what Mussorgsky called a "nationalist people's musical drama," one fit for our age; it is only opera I know of that can give you insight into the tensions of our times: the turmoil of Afghanistan and Iraq. These are lands struggling with modernism, autocracy, religious fanaticism, feudal fiefdoms, and fears of the West. All this was true of Russia when Peter the Great was coming of age and when Prince Ivan Khovansky, in league and in rivalries with false westernizers (like Prince Golitizan) and the Old Believers, sought to create their putsch against the imperial power of the Romanovs.

The music is wonderful, providing melodic depth to every nuance of this psychosocial epic. It is more subtle and mature "Boris Godunov," but no less moving. Yet Khovanshchina does have its problems: Peter the Great, the central figure of the drama, is absent. Russian law forbade Mussorgsky from depicting members of the Romanov family on stage (so, too, the palace intrigues between Peter and his sister, Sophia, could not be shown). So, dramatically it lacks the tightness of Boris. Neither could Mussorgsky depict Patriarch Nikon, whose reforms so inflamed that Old Believers that, by the end of the opera, they immolate themselves. Mussorgsky died with Khovanshchina barely sketched, so musicologists still debate his point of view (I think Kirchner and the Vienna State got it wrong, but no matter).

The production is a fine one: well conducted by Claudio Abbado, beautifully sung, and often brilliantly acted (most especially by Ghiaurov as Ivan Khovansky and Zednik as the scribe). The dance of the Persian slaves is marvelously sensual, and the staging, while variable in quality is generally excellent - superb in Khovansky's rally and in the immolation scene. Technically, it is very well recorded, though in standard frame and just in stereo. Enjoy it now; don't just wait for a DTS version. At 173 minutes on 1 DVD you're certainly getting your money's worth.

Abbado is a strong Mussorgsky-champion.
He cares not for the Russian tradition, perhaps rightly so, because the tradition actually concerns Rimsky-Korsakov's version, while he uses Shostakovich's.
Instead, he offers his own original ideas, treating the score as seriously as he would have treated a Wager or Mozart opera, with all the intellect and sophistication needed.

For comparison, listen to Opera D'oro's release of La Scala's Khovanshchina led by the Russian Leskovich.

Ghiaurov plays in both recordings the part of Ivan Khovansky.
Here he is past his prime, but uses his vast experience to put on a credible performance.

Paata Burchuladze is Dosifey. He has a subtle bass voice. He takes the opportunity to reach the low D in his great monolog.
Still, he's a bit young for being a convincing Dosifey.
Maybe he should have taken Khovansky and let Ghiaurov be Dosifey...

Atlantov is strikingly great singing Andrey's ungratefully difficult tessitura.

Kotcherga is in top shape (Strong voice, very strong). You get the notion why Abbado let him sing Boris in his later recording of Boris Godunov.

Semtschuk succeeds most of the time to push her chest tones, except for some slips, but she is obviously more comfortable in the higher register.

The orchestra and choir are musically flourished, although their pronouncing of the Russian words is obscure.

P.S It is also nice to have Zednick as the Scribbler!

Khovanshchina considered by many to be Mussorgsky's greatest work is grand opera in the greatest sense. There is ballet, huge choruses, and even a on-stage brass band (which sounded really good too).
The Vienna Opera Orchestra/Vienna Philharmonic is one of the best orchestra's around. Claudio Abbado does a really good job balancing this score out, but still letting it go foreword with a lot of energy.
Overall I would recommend trying to watch this DVD or even getting it. It is a really good production. The DVD has good sound and picture quality. The camera work is pretty good considering how large the stage is. The staging of the opera is not as conducive to the camera as it is actually being in the theater. This doesn't bother the visual element to much though.

Well sung and adequately conducted, this Khovanshchina suffers terribly from Alfred Kirchner's unfocussed and ultimately unsatisfying production, totally lacking in spiritual core. Much of the production does nothing to assist the viewer in appreciating or even understanding the admittedly complicated plot. The standard cuts are made, thankfully (chiefly affecting Act 2). Abbado conducts the Shostakovich orchestration (preferable to Rimsky-Korsakov's, perhaps) with a decidedly un-Russian flair, making for an interesting but unconvincing interpretation. Kirchner's production comes into focus only in the finale to Act 5 by Igor Stravinsky, rarely used in relation to the more common Shostakovich finale, itself based on Rimsky-Korsakov's original finale. (Ravel also wrote one, performed once in Monte-Carlo and never heard again.) The singers acquit themselves with varying degrees of success; the Vienna State Opera Orchestra plays well, not sounding very Russian; the Bratislava Opera Chorus is mediocre much of the time (granted, the stage direction they are given is for the most part horrendous). The English subtitles are good; this is an in-house performance (although not from the Vienna Staatsoper) from 1989, with some very annoying camera work. Total length 174 minutes, not 113 minutes as printed on the box. A decent rendition, if not profound.

What a treat to be able to hear the final scene, the True Believer's chorus composed by Igor Stravinsky for Diaghilev's "restoration" of 1913. Richard Taruskin writes about it at length in "Stravinsky and the Russian Traditions."

Khovanshchina is a brilliant and very overlooked opera. For several years I have been the lucky owner of this video, and I must admit that I purchased it solely for the reason of Nicolai Ghiaurov. In the CD issue from DG the role of Ivan Khovansky is undertaken by Danish Aage Haugland, but although I am from Denmark myself, I don't find much satisfaction in his performance. His voice is small, uneven, rasping, grunting and often downright ugly. The fine lines of Mussorgsky's score, so securely sung and dramatically acted by Nicolai Ghiaurov, is wholly neglected by Aage Haugland's insecure performance. Clear to everyone, except for the ones calling themselves experts of course, there is a substantial difference between the two artists, and it is clearly in the favour of Nicolai Ghiaurov. In the CD-version under Tchakarov on Sony, he can be experienced in even more vivid form. In this video he is three years older, but havn't lost his radiance and powerful voice. In fact, something special happens when he enters the stage. This could also be said about the tenor Heinz Zednik. He plays the part of the public scribe, and he does so to perfection. A real vivid characterisation. Anatoly Kotcherga also provides a noble rendering of Shaklovity, although he does not posses the elegant phrasing or the tone colour of Stoyan Popov on the Sony/Tchakarov issue. Paata Burchuladze is indeed a very powerful bass. He does, however, have severe problems concerning intonation and pronunciation. As the opera proceeds he also seems to run out of steam and it results in a hoarseness very inappropriate to the beautiful and oratorio-like music towards the end of this opera. Nicola Ghiuselev is preferable in the Sony-issue under Tchakarov. The greatest disaster of this performance is surely Yuri Marusin as Golitsin. Both His acting and tone colouring is clearly over the top, and one wonders why in the world he is even considered in a major role at one of the leading opera houses of the world? Surely there must be better singers around! Vladimir Atlantow does not posses a beautiful voice, but he is very powerful and few can equal him in size and impact. But when it comes to eloquence and tone he simply falls short. This is however not a role that suffers greatly from his lack of expressiveness, as it often would be in the italian repertoire. Abbado is a great lover of this music and one of this videos greatest assets is his vivid conducting. Only a true lover of this music could conduct it in this fashion. He may not always sound as authentic as Tchakarov on Sony, but he does seem to posses a great deal of insight to the score, and it does make up for a lot of the shortcomings mentioned above. The choir is excellent throughout the performance. If you need a visual performance this is if not always perfectly sung, it is very vividly acted and has a great sense of atmosphere. This is a very overlooked opera and this issue is certainly worth while, especially if you are a fan of Ghiaurov, Zednik or Abbado, but compared to the CD-version on Sony (Tchakarov) the cast has too many shortcomings. - Nevertheless I recommend it.

I've had this recording for some years. I've listened to it often trying to resolve matters of the production and musical interpretation. Some things I liked immediately and still do, others I have misgivings about and a few are downright negative. This has all come to a head now because of the release of a 1979 recording from the Bolshoi of a truly Russian rendering (Bolshoi, Yuri Simonov conducting 1979 Rimsky-Korsakov edition). The 1989 Vienna State is masterfully led by Claudio Abbado. He has a repectful feel for the music of Mussorgsky and the Vienna is a great musical ensemble. The featured singers are also masterful in their individual numbers and are often great. Paata Burchuladze as Dosifie has a shimmering, soul-lifting bass in contrast to the faded glory of N. Ghiaurov as Prince Khovansky. (This may actually fit the faded glory of the aged war hero prince). I remember in the 1960s the glorous voiced Nicolai in Boris, Don Carlo and numerous other star bass roles. The Boyar Shaklovity has one of the opera's best arias - about hope for relief from oppression in these troubled times for Russia, This was breathtakingly conveyed by Anatoly Kocherga. The solo numbers were all given well.
It was the music in between the vocal numbers that was disturbing. This production used the 1959 re-orchestration of Shostakovich. No matter how many times I hear this I envision/remember one of the war symphonies or Lady Macbeth of Misensk and it's livid 20th century music and not the rough, crude, earthy music of the downtrodden serfs of oppresed 17th century Russia. This holds as well for the last chorus of the "Old Believers" in the finale. It is a truly beautiful piece but not appropriate here. Stravinsky wrote much service music for the Russian Orthodox church and was a devout believer. He had a natural sympathy for this radical religious group and makes them out to be martyrs. However in history they were much more malignant and opposed to any change or modernization. So in the Rimsky-Korsakov version it's their obstinacy that is the cause of their immolation. Religions are forever splitting off because some new "revelation" comes to some individual or group; as many as all the grains of sand on all the oceans' beaches are the gods invented by the human mind. (Dosifei is an invention for the opera as the "Old Believers" sect had no leaders; Marfa was also an invention but all the other major roles are historical figures).
There is little complete music extant that was fully written by Mussorgsky for Khovanshchina but I feel that the Rinsky version is closer to the unbiased history as envisioned by Mussorogsky (was there any use in all that happened or was it all so many ashes in the dust-bin of History?) Yes, Rimsky took some liberties and you can hear a little Sadko here and there but it's sounds more appropriate to me than 20th century Shostakovich.
A last comment about production and singing Russian: listen to the chorus in the Bolshoi-Simonov recording. Russian music sung by Russians can be magical and moving. And there is magic in that production too. You feel transported back in time and can feel the pain of the downtrodden peasants and the oppression of their country. The Vienna-Abbado-Kirchner Star Wars-Buck Rogers spectacle was scary at times but otherwise pointless

This is an enthralling performance. The soloists are all outstanding, and the choir sings with conviction and purpose. I had an old LP recording of Shostakovich's orchestration of the overture to Mussorgsky's opera, so I was always going to be interested in his orchestration of the complete work. This is a dark work, and the orchestra, at times, punctuates the action with menacing growls.
Interwoven into this plot of the struggle for power in Moscow, is a truly remarkable love story.
It is Marfa's love for the wayward Andrey Khovansky who is the son of Prince Ivan Khovansky-the heavy drinking and lecherous leader of the Streltsy.Marfa, sung with passion and dignity by Ludmila Semtschuk, is torn between earthly love and her faith. She has the ability to see the future, and predicts the inevitable end (the salvation for herself and Andrey) where the old believers, in act of martyrdom, refuse to be slain by Peter the Great's henchmen, and are consumed by flames.
Thank you for giving me the opportunity to submit this review.