Boris Godunov 1 act. Boris Godunov Opera in four acts with Prologue. Text by the composer after A. Pushkin and N. Karamzin. Opera in four acts with prologue

03.11.2019

The opera begins with the people calling for Boris Godunov to ascend to the throne. He does not want to reign, because he understands the complexity of the political situation. He is overcome by heavy thoughts and a feeling of imminent disaster.
Godunov has no luck either in political affairs or in family affairs; all this is punishment for the murder of the prince. Shuisky reports that an Impostor, Dmitry, has appeared in the Lithuanian state. However, Boris, overcome by severe pangs of conscience, begins to ask him about the death of the prince. He worries so much that he begins to see the ghost of the deceased.

Next we are transported to Sandomierz Castle, where singers entertain Marina Mniszech. The woman is determined and wants to ascend the throne by falling in love with the Pretender. Jesuit Rangoni supports her in this, and wants the “Muscovites” to convert to the Catholic faith.

The people are discussing rumors about the approach of the Pretender's army and are looking forward to the imminent liberation from Boris's oppression.

Boyar Duma in the Kremlin. Shuisky talks about the spiritual torment of the sovereign. Godunov enters. The chronicler tells how one blind man received his sight after praying at the grave of the prince. The Emperor cannot stand it and loses consciousness. Having come to his senses, he calls Fyodor, gives him instructions and dies.

On a forest road, not far from the Lithuanian border, the people, spurred on by Misail and Varlaam, mock Khrushchev and the Jesuits who came to hand. The Pretender's army appears. The people praise his leader.

The holy fool predicts new suffering for the people.

The tragedy of "Boris Godunov" suggests that power in Russia should not be implicated in blood. Otherwise everyone will suffer. The people are driving force history, and he remains the loser. And a ruler who has lost the support, love and trust of the people is doomed.

Picture or drawing of Opera Boris Godunov

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The most famous operas peace. Original title, author and brief description.

Boris Godunov, M. P. Mussorgsky.

Opera in four acts with prologue; libretto by Mussorgsky based on the tragedy of the same name by A. S. Pushkin and “History of the Russian State” by N. M. Karamzin.
First production: St. Petersburg, Mariinsky Theater, January 27, 1874.

Characters: Boris Godunov (baritone or bass), Fyodor and Ksenia (mezzo-soprano and soprano), Ksenia's mother (mezzo-soprano), Prince Vasily Shuisky (tenor), Andrei Shchelkalov (baritone), Pimen (bass), Impostor under the name of Gregory ( tenor), Marina Mnishek (mezzo-soprano), Rangoni (bass), Varlaam and Misail (bass and tenor), tavern owner (mezzo-soprano), holy fool (tenor), Nikitich, bailiff (bass), close boyar (tenor) , boyar Khrushchev (tenor), Jesuits Lavitsky (bass) and Chernikovsky (bass), boyars, archers, bells, bailiffs, lords and ladies, Sandomierz girls, walkers, the people of Moscow.

The action takes place in Moscow in the years 1598-1605.

Prologue. Scene one.
People were herded into the courtyard of the Novodevichy Convent to beg Boris Godunov on his knees to be crowned king. The bailiff’s baton “inspires” the people “not to spare a sip.” Duma clerk Andrei Shchelkalov appeals to God to send down “comfort to sorrowful Rus'.” The day is coming to an end. From a distance you can hear the singing of the Kalikas of passers-by. “God’s people” head to the monastery, distributing incense to the people. And they advocate for the election of Boris.

Scene two.
The people gathered in the Kremlin in front of the Assumption Cathedral praise Boris. And Boris is overcome by ominous premonitions. But that's it: no one should notice the king's doubts - there are enemies around. And the tsar orders to call the people to a feast - “everyone, from the boyars to the blind beggar.” The praise merges with the ringing of bells.

Act one. Scene one.
Night. Cell in the Chudov Monastery. A witness to many events, Elder Pimen writes a chronicle. The young monk Gregory is sleeping. The singing of prayer can be heard. Gregory wakes up. He is disturbed by sleep, “a persistent, damned dream.” He asks Pimen to interpret it. The dream of the young monk awakens in Pimen memories of previous years. Grigory envies Pimen's eventful youth. Stories about kings who exchanged “their royal staff, and purple, and their luxurious crown for the monks’ humble hood” do not reassure the young novice. With bated breath, he listens to the elder as he tells about the murder of Tsarevich Dimitri. A casual remark that Grigory and the prince are the same age gives birth to an ambitious plan in his head.

Scene two.
Gregory comes to a tavern on the Lithuanian border together with two tramps, fugitive monks Misail and Varlaam - he makes his way to Lithuania. The thought of imposture completely occupies Gregory, and he does not take part in the small feast that the elders arranged. Both of them are already very tipsy, Varlaam begins to sing. Meanwhile, Grigory asks the hostess about the road. From a conversation with her, he learns that outposts have been set up: they are looking for someone. But the kind hostess tells Gregory about the “roundabout” path. Suddenly there is a knock. The bailiff appears lightly. In the hope of profit - the elders collect alms - the bailiff with “bias” interrogates Varlaam - who they are and where they come from. The decree about the heretic Grishka Otrepiev is retrieved. The bailiff wants to intimidate Varlaam - maybe he is the heretic who fled from Moscow? Gregory is called to read the decree. Having reached the signs of the fugitive, he quickly gets out of the situation, indicating the signs of his companion. The bailiffs rush at Varlaam. Seeing that things are taking a bad turn, the elder demands that he be allowed to read the decree himself. Slowly, slowly, he pronounces the sentence on Grigory, but Grigory is prepared for this - jump out the window, and remember his name...

Act two.
Tsar's tower. Princess Ksenia cries over the portrait of her deceased groom. Tsarevich Theodore is busy with the “book of a large drawing.” Mom doing needlework. With jokes, jokes and simply heartfelt words, she tries to distract the princess from bitter thoughts. Tsarevich Theodore responds to his mother's fairy tale with a fairy tale. Mom sings along with him. They clap their hands and act out a fairy tale. The Tsar affectionately calms the princess and asks Theodore about his activities. The view of the Muscovite kingdom in the drawing causes Boris to have a heavy thought. In everything - both in the disasters of the state and in the misfortune of his daughter - he sees revenge for the crime committed - the murder of Tsarevich Dimitri. Having learned from Shuisky, a cunning courtier, about the appearance of the Pretender in Lithuania, Boris demands from Shuisky confirmation of the death of the prince. Shuisky insidiously describes the details of the crime. Boris cannot stand the torture: in the wavering shadows he sees the ghost of the murdered boy.

Act three. Scene one.
In Sandomierz Castle, Marina is behind the toilet. The girls entertain her with a flattering song. Panna Mniszech is dissatisfied: she wants to hear about the glorious victories of Poland, the ambitious Marina dreams of the throne of the Tsars of Moscow. The Jesuit Rangoni appears. With the power of the church, he conjures Marina to entangle Marina in the love networks of the Pretender.

Scene two.
Moonlit night in the garden, by the fountain, Marina the Pretender is dreaming. Rangoni sneaks up on him. With sweet speeches about Marina’s beauty, the Jesuit lures the Pretender into confessing his passionate love for the proud lady. A noisy crowd passes through the garden cheerful guests- they are anticipating the victory of the Polish army over Borisov’s army. The impostor is hiding behind the trees. Marina appears. With caresses, whims and ridicule she kindles the ambition of the Pretender.

Act four. Scene one.
In front of St. Basil's Cathedral, people are animatedly discussing rumors about the approach of the Pretender's army, the service in the church, the anathematization of Grishka Otrepiev and eternal memory that they sang to Tsarevich Dimitri. The common people are sure that the Pretender is the real Tsarevich Dimitri, and are outraged by the blasphemy of singing the eternal memory of the living! The Holy Fool runs in, followed by a flock of hooting boys. The holy fool sits on a stone, mends his bast shoes and sings. The boys surround him and take away the penny he was just boasting about. The holy fool is crying. The boyars come out of the cathedral and give out alms. The royal procession begins. On their knees, with their hands stretched out to the king, the hungry, the ragged - all the people gathered in the square - beg for bread. Boris, seeing the grieving Fool, stops and asks how they offended him. The holy fool naively and impudently asks the king to kill the offending boys, just as he killed the little prince. Boris stops the guards who rushed to the Holy Fool and asks the blessed one to pray for him. But you cannot pray for King Herod - “The Mother of God does not command.” This is the verdict of the people.

Scene two.
A meeting of the Boyar Duma is taking place in the Faceted Chamber of the Moscow Kremlin. The fate of the Pretender is being decided. The slow-witted boyars regret that without Shuisky “the opinion turned out wrong.” And here is Prince Vasily. His story about Boris’s seizure arouses the distrust of the boyars, but with the exclamation “Church, child!” the king himself appears. Having come to his senses, Godunov sits down in the royal seat and addresses the boyars. Shuisky interrupts him with an offer to listen to a humble old man who wants to tell a great secret. This is Pimen. His story about the miracle of insight associated with the name of the murdered prince deprives Boris of strength. Feeling the approach of death, he calls Tsarevich Theodore to him and gives his son strict orders to justly rule Russia, honor the saints of God, take care of his sister, and prays to heaven for mercy on his children. The funeral bell is heard, and the funeral cry is approaching - the schema, “the king is becoming a monk” (kings were tonsured as monks before their death). Boris is dying.

Scene three.
The forest clearing near Kromy is filled with a crowd of tramps. They mock Godunov's governor, boyar Khrushchev. Varlaam and Misail are right there, inciting the people with stories about executions and massacres in Rus'. The people have only one sentence for this: “Death, death to Boris!” The Jesuits fall under the hot hand. The Impostor appears, the people greet him. And although the Jesuits and the governor are freed by the Pretender, everyone follows him to Moscow. Only the Holy Fool sits alone on the stone. His mournful song predicts trouble, bitter tears, dark, impenetrable darkness.

There are half a dozen versions of "Boris Godunov".

Mussorgsky himself left two; his friend N.A. Rimsky-Korsakov made two more; one version of the orchestration of the opera was proposed by D. D. Shostakovich, and two more versions were made by John Gutman and Karol Rathaus in the middle of this century for the New York Metropolitan Opera. Each of these options provides its own solution to the problem of which scenes written by Mussorgsky should be included in the context of the opera and which ones should be excluded, and also offers its own sequence of scenes. The last two versions, moreover, reject Rimsky-Korsakov's orchestration and restore Mussorgsky's original. As a matter of fact, as far as retelling the content of the opera is concerned, it has no of great importance which edition to follow; it is only important to give an idea of all the scenes and episodes written by the author. This drama is constructed by Mussorgsky rather according to the laws of chronicle, like Shakespeare's chronicles of kings Richard and Henry, rather than a tragedy in which one event follows with fatal necessity from another.

However, in order to explain the reasons that caused the appearance of such large quantity editions of the opera, we present here N. A. Rimsky-Korsakov’s preface to his 1896 edition of “Boris Godunov” (that is, to its first edition):

“The opera, or folk musical drama, “Boris Godunov,” written 25 years ago, at its first appearance on stage and in print, aroused two opposing opinions in the public. High talent of the writer, penetration folk spirit and spirit historical era, the liveliness of the scenes and the outlines of the characters, the truth of life in both drama and comedy and vividly captured household side with the originality of musical ideas and techniques, they aroused the admiration and surprise of one part; impractical difficulties, fragmentary melodic phrases, inconvenience of voice parts, rigidity of harmony and modulations, errors in voice guidance, weak instrumentation and generally weak technical side of the work, on the contrary, caused a storm of ridicule and censure - from the other part. The mentioned technical shortcomings obscured for some not only the high merits of the work, but also the very talent of the author; and vice versa, these very shortcomings were elevated by some to almost merit and merit.

Much time has passed since then; the opera was not given on stage or was given extremely rarely, the public was not able to verify the established opposing opinions.

This edition does not destroy the first original edition, and therefore Mussorgsky’s work continues to be preserved intact in its original form.”

To make it easier to navigate the differences between the author's editions of the opera, and also to more clearly understand the essence of the director's decisions in modern productions of the opera, we present here a schematic plan of both editions of Mussorgsky.

First edition (1870)
ACT I
Picture 1. courtyard of the Novodevichyev Monastery; the people ask Boris Godunov to accept the kingdom.
Picture 2.
ACT II
Picture 3.
Picture 4.
ACT III
Picture 5. The Tsar's Tower in the Kremlin; Boris with children; Boyar Shuisky talks about the Pretender; Boris experiences torment and remorse.
ACT IV
Picture 6. Square near St. Basil's Cathedral; The holy fool calls Boris King Herod.
Picture 7. Meeting of the Boyar Duma; death of Boris.
Second edition (1872)
PROLOGUE
Picture 1. courtyard of the Novodevichy Convent; the people ask Boris Godunov to accept the kingdom.
Picture 2. Moscow Kremlin; Boris's crowning of the kingdom.
ACT I
Picture 1. Cell of the Chudov Monastery; scene of Pimen and Grigory Otrepyev.
Picture 2. Tavern on the Lithuanian border; the fugitive monk Gregory hides in Lithuania in order to then reach Poland.
ACT II
(Does not divide into paintings)
A series of scenes in the royal palace in the Kremlin.
ACT III (POLISH)
Picture 1. Marina Mniszek's dressing room in Sandomierz Castle.
Picture 2. Scene of Marina Mnishek and the Pretender in the garden by the fountain.
ACT IV Picture 1. Meeting of the Boyar Duma; death of Boris.
Picture 2. People's uprising near Kromy (with the episode with the Holy Fool, borrowed - partially - from the first edition).

Boris Godunov. Don Carlos. History of creation.

The idea of writing an opera based on the plot of Pushkin’s historical tragedy “Boris Godunov” (1825) was given to Mussorgsky by his friend, the prominent historian Professor V.V. Nikolsky. Mussorgsky was extremely fascinated by the opportunity to translate the topic of the relationship between the tsar and the people, which was acutely relevant for his time, and to bring the people into the role of the main character of the opera. “I understand the people as a great personality, animated by a single idea,” he wrote. “This is my task. I tried to solve it in opera."

The work, which began in October 1868, proceeded with great creative enthusiasm. A month and a half later, the first act was ready. The composer himself wrote the libretto of the opera, drawing on materials from N. M. Karamzin’s “History of the Russian State” and other historical documents. As the composition progressed, individual scenes were performed in a circle of “kuchkists”, who gathered either at A. S. Dargomyzhsky or at Glinka’s sister L. I. Shestakova. “Joy, admiration, admiration were universal,” recalled V.V. Stasov.

“Boris” was staged only thanks to the energetic support of advanced artistic forces, in particular the singer Yu. F. Platonova, who chose the opera for her benefit performance. The premiere took place on January 27 (February 8), 1874 at the Mariinsky Theater. The democratic public greeted “Boris” enthusiastically. Reactionary criticism and the nobility-landowner society reacted sharply negatively to the opera. Soon the opera began to be performed with arbitrary abbreviations, and in 1882 it was completely removed from the repertoire. “There were rumors,” N. A. Rimsky-Korsakov wrote about this, “that he didn’t like the opera royal family; they chatted that its plot was unpleasant to the censors.”

Despite sporadic revivals of Boris, its true discovery and international recognition came after 1896, and especially in 1908 in Paris, when Fyodor Chaliapin sang in an opera edited by Rimsky-Korsakov.

Music.

"Boris Godunov" - folk musical drama, a multifaceted picture of the era, striking with Shakespearean breadth and boldness of contrasts. The characters are depicted with exceptional depth and psychological insight. The music reveals with stunning power the tragedy of the tsar’s loneliness and doom, and innovatively embodies the rebellious, rebellious spirit of the Russian people.

The prologue consists of two scenes. The orchestral introduction to the first expresses grief and tragic hopelessness. The chorus “To whom are you leaving us” is akin to mournful folk lamentations. Appeal from clerk Shchelkalov “Orthodox! The boyar is relentless!” imbued with majestic solemnity and restrained sadness.

Second scene of the prologue- a monumental choral scene preceded by the ringing of bells. The solemn tribute to Boris “Like the sun is red in the sky” is based on a genuine folk melody. In the center of the picture is Boris’s monologue “The Soul Grieves,” whose music combines royal grandeur with tragic doom.

First scene of the first act opens with a brief orchestral introduction; the music conveys the monotonous creak of the chronicler’s pen in the silence of a secluded cell. Pimen’s measured and sternly calm speech (monologue “One more, last legend”) outlines the stern and majestic appearance of the old man. Bossy, strong character is felt in his story about the kings of Moscow. Gregory is depicted as an unbalanced, ardent young man.

Second scene of the first act contains juicy everyday scenes. Among them are the songs of the shinkarka “I caught a gray drake” and Varlaam’s “How it was in the city in Kazan” (on folk words); the latter is full of elemental strength and daring.

Second act broadly outlines the image of Boris Godunov. Big monologue “I have achieved supreme authority"is filled with a restless, mournful feeling and alarming contrasts. Boris's mental discord worsens in a conversation with Shuisky, whose speeches sound insinuating and hypocritical, and reaches extreme tension in final scene hallucinations (“scene with chimes”).

First scene of the third act opens with an elegantly graceful choir of girls “On the Azure Vistula”. Marina’s aria “How languid and sluggish,” set in the rhythm of a mazurka, paints a portrait of an arrogant aristocrat.

The orchestral introduction to the second scene depicts an evening landscape. The melodies of the Pretender's love confession are romantically excited. The scene of the Pretender and Marina, built on sharp contrasts and capricious changes of mood, ends with the passionate duet “Oh Tsarevich, I beg you.”

First scene of the fourth act-dramatically intense folk scene. From the plaintive groan of the Holy Fool’s song “The month is moving, the kitten is crying” grows the chorus “Bread!”, stunning in its tragic power.

Second scene of the fourth act ends with the psychologically acute scene of Boris's death. His last monologue, “Farewell, my son!” painted in tragically enlightened, peaceful tones.

Third scene of the fourth act- a monumental folk stage exceptional in scope and power. Initial chorus “Not a falcon flies across the sky” (original folk melody great song) sounds mocking and menacing. The song of Varlaam and Misail “The sun and the moon have darkened” is based on the melody folk epic. The climax of the picture is the rebellious chorus “Dispersed, dissolved”, full of spontaneous, indomitable revelry. The middle section of the chorus, “Oh You, Strength,” is a sweeping tune of a Russian round dance song, which, as it develops, leads to menacing, angry cries of “Death to Boris!” The opera ends with the solemn entry of the Pretender and the cry of the Holy Fool.

Opera in four acts (eight scenes) with a prologue (of two scenes)

Dedicated to the composer’s beloved nephew V.L. Davydov.

Libretto by M. P. Mussorgsky

Characters:
Boris Godunov: baritone
Boris's children: Fedor, Ksenia: mezzo-soprano soprano
Ksenia's mother low: mezzo-soprano
Prince Vasily Ivanovich Shuisky: tenor
Andrey Shchelkalov, Duma clerk: baritone
Pimen, hermit chronicler: bass
An impostor under the name of Gregory (raised by Pimen): tenor
Marina Mnishek, daughter of the Sandomierz voivode: mezzo-soprano
Rangoni, secret Jesuit: bass
Tramps: Misail, Varlaam: bass
Shinkarka: mezzo-soprano
Holy Fool: tenor
Nikitich, bailiff: bass
Mityukha, peasant: bass
Near Boyar: tenor
Boyarin Khrushchov: tenor
Jesuits: Chernikovsky, Lavitsky: bass

Boyars, boyar children, archers, bells, bailiffs, lords and ladies, Sandomierz girls, Kaliki travelers, the people of Moscow.

Location: Moscow, Lithuanian border, castle in Sandomierz, Kromy.

Time period: 1598-1605.

HISTORY OF CREATION

At the end of 1869, the opera “Boris Godunov” was completed and presented to the theater committee. But its members, discouraged by the ideological and artistic novelty of the opera, rejected the work under the pretext of the lack of a winning female role. The composer made a number of changes, adding a Polish act and a scene near Kromy. However, the second edition of Boris, completed in the spring of 1872, was also not accepted by the directorate of the imperial theaters. “Boris” was staged only thanks to the energetic support of advanced artistic forces, in particular the singer Yu. F. Platonova, who chose the opera for her benefit performance. The premiere took place on January 27 (February 8), 1874 at the Mariinsky Theater. The democratic public greeted “Boris” enthusiastically. Reactionary criticism and the nobility-landowner society reacted sharply negatively to the opera.

Soon the opera began to be performed with arbitrary abbreviations, and in 1882 it was completely removed from the repertoire. “There were rumors,” wrote N. A. Rimsky-Korsakov on this occasion, “that the royal family did not like the opera; they chatted that its plot was unpleasant to the censors.”

“Boris Godunov” was revived in St. Petersburg many years later (1896) on a private stage, edited and orchestrated by N. A. Rimsky-Korsakov. From that time on, the triumphant procession of “Boris” began across the stages musical theaters peace. IN lately The orchestration of the opera, made by D. D. Shostakovich, became famous.

PLOT

In the courtyard of the Novodevichy Convent, the bailiff threatens the assembled people to ask the boyar Boris Godunov to accept the royal crown. Boris stubbornly refuses the throne. Duma clerk Shchelkalov informs the people about this. “Holy elders” pass by - Kaliki passers-by, advocating for the election of Boris. The bailiff announces the decree of the boyars - tomorrow everyone must be in the Kremlin and wait there for orders.

The next morning, the people gathered in front of the Assumption Cathedral dutifully praise Boris, who agreed to be crowned king. But the triumph does not please the sovereign - painful forebodings torment him.

In the cell of the Chudov Monastery, the old hermit Pimen writes a true chronicle about Boris, who is guilty of the death of the legitimate heir to the throne - Tsarevich Dimitri. The young monk Grigory Otrepyev became interested in the details of the murder. With excitement, he learns that the prince was his age, and makes a daring decision: to call himself Dimitri and enter into a fight with Boris.

Gregory appears in a tavern on the Lithuanian border along with random fellow travelers - fugitive monks Varlaam and Misail. The bailiffs enter: they are looking for the fugitive heretic Grishka Otrepiev. Reading the royal decree, Grishka names the signs of Varlaam. The imaginary criminal is captured, but the deception is discovered, and the Pretender has to flee.

The Tsar's Tower in the Kremlin. Boris consoles his daughter Ksenia, who is grieving over her deceased fiancé. The king has no luck both in his family and in government affairs. His efforts to earn the love of the people are in vain, the memories of committed crime. Prince Vasily Shuisky, a cunning and treacherous courtier, brings news of the appearance in Lithuania of an Pretender who called himself the name of Dimitri, who is supported by the king and lords. Boris is confused. He sternly interrogates Shuisky, a witness to the death of Dimitri, did the prince really die? However, Boris is unable to listen to the end of the story: he sees the ghost of a murdered baby.

Girls entertain Marina Mniszek, who is bored in Sandomierz Castle, with songs. An ambitious Polish woman, who dreams of taking the throne of the Moscow Tsars, wants to capture the Pretender. In the interests of the Catholic Church, Jesuit Rangoni also demands this from her.

Together with a crowd of merry gentlemen, Marina leaves the castle into the garden. Here the Impostor is waiting for her. With cunning and affection, Marina kindles his love. It will belong to him when, at the head of the Polish army, the Pretender takes control of Moscow and becomes the ruler of Rus'.

Square in front of St. Basil's Cathedral. The people eagerly catch rumors about the approach of the Pretender. He believes that Dimitri is alive and will save him from Boris’s tyranny. The royal procession begins. Hungry people stretch out their hands with a desperate plea: “Bread!” The pitiful Holy Fool throws a grave accusation in the autocrat's face: he asks Boris to kill the boys who offended him, just as he stabbed the little prince.

The Boyar Duma met in the Faceted Chamber of the Kremlin. Everyone is excited about the news of the Imposter. The belated Shuisky talks about Boris’s secret suffering. Suddenly, the Tsar himself appears before the eyes of the boyars, driving away the ghost of a child in fear. Boris's torment reaches its limit when the chronicler Pimen, deliberately brought by Shuisky, narrates about miraculous healing a blind man who prayed over the grave of Demetrius. The king cannot stand it and falls unconscious. Having woken up, he calls his son Fyodor and, barely having time to say last words parting words, dies.

The peasant uprising flares up with a bright flame. In a forest clearing, near the village of Kromy, people mock Borisov’s governor and deal with the Jesuits who come to hand. Varlaam and Misail incite the rebellious people, talking about torture and executions in Rus'. The Impostor appears, the people joyfully greet him. But the Holy Fool predicts new adversities for the people. “Woe, grief of Rus', cry, Russian people, hungry people,” he sings.

MUSIC

“Boris Godunov” is a folk musical drama, a multifaceted picture of the era, striking in its Shakespearean breadth and boldness of contrasts. The characters are depicted with exceptional depth and psychological insight. The music reveals with stunning power the tragedy of the tsar’s loneliness and doom, and innovatively embodies the rebellious, rebellious spirit of the Russian people.

The prologue consists of two scenes. The orchestral introduction to the first expresses grief and tragic hopelessness. The chorus “To whom are you leaving us” is akin to mournful folk lamentations. Appeal from clerk Shchelkalov “Orthodox! The boyar is relentless!” imbued with majestic solemnity and restrained sadness.

The second scene of the prologue is a monumental choral scene, preceded by the ringing of bells. The solemn eulogy to Boris “As red as the sun in the sky” is based on a genuine folk melody. In the center of the picture is Boris’s monologue “The Soul Grieves,” whose music combines royal grandeur with tragic doom.

The first scene of the first act opens with a brief orchestral introduction; the music conveys the monotonous creak of the chronicler’s pen in the silence of a secluded cell. Pimen’s measured and sternly calm speech (monologue “One more, last legend”) outlines the stern and majestic appearance of the old man. An imperious, strong character is felt in his story about the kings of Moscow. Gregory is depicted as an unbalanced, ardent young man.

The second scene of the first act contains rich everyday scenes. Among them are the songs of the shinkarka “I caught a gray drake” and Varlaam’s “As it was in the city in Kazan” (to folk words); the latter is full of elemental strength and daring.

The second act broadly outlines the image of Boris Godunov. The long monologue “I have reached the highest power” is filled with a restless, mournful feeling and alarming contrasts. Boris's mental discord worsens in a conversation with Shuisky, whose speeches sound insinuating and hypocritical, and reaches extreme tension in the final scene of hallucinations (the "scene with the chimes").

The first scene of the third act opens with an elegantly graceful chorus of girls “On the Azure Vistula”. Marina’s aria “How languid and sluggish,” set in the rhythm of a mazurka, paints a portrait of an arrogant aristocrat.

The first scene of the fourth act is a dramatically tense folk scene. From the plaintive groan of the Holy Fool’s song “The month is moving, the kitten is crying” grows the chorus “Bread!”, stunning in its tragic power. The second scene of the fourth act ends with the psychologically acute scene of Boris's death. His last monologue, “Farewell, my son!” painted in tragically enlightened, peaceful tones.

The third scene of the fourth act is a monumental folk scene of exceptional scope and power. The opening chorus “Not a falcon flies across the sky” (to the original folk melody of a majestic song) sounds mocking and menacing. The song of Varlaam and Misail “The sun and the moon have darkened” is based on the melody of a folk epic. The climax of the picture is the rebellious chorus “Walked up, walked around”, full of spontaneous, indomitable revelry. The middle section of the chorus, “Oh, you, strength,” is a sweeping tune of a Russian round dance song, which, as it develops, leads to menacing, angry cries of “Death to Boris!” The opera ends with the solemn entry of the Pretender and the cry of the Holy Fool.

MODEST PETROVICH MUSORGSKY
BORIS GODUNOV
Folk musical drama in four acts with a prologue (ten scenes)
Libretto by tragedy of the same name A.S. Pushkin was written by the composer himself.
It was first staged on February 8, 1874 in St. Petersburg, at the Mariinsky Theater.
Characters
Boris Godunov baritone or bass
Feodor Children of Boris mezzo-soprano
Ksenia Children of Boris soprano
Ksenia's mother low mezzo-soprano
Prince Vasily Ivanovich Shuisky tenor
Andrey Shchelkalov, duma clerk baritone
Pimen, chronicler, hermit bass
An impostor under the name Gregory tenor
Marina Mnishek, daughter of the Sandomierz voivode mezzo-soprano or dramatic soprano
Rangoni, secret Jesuit bass
Varlaam tramp bass
Misail tramps tenor
Tavernkeeper mezzo-soprano
Foolish tenor
Nikitich, bailiff bass
Middle boyar tenor
Boyarin Khrushchov tenor
Lavitsky Jesuit
Chernikovsky Jesuit 6ac
Mityukha bass
Boyars, boyar children, archers, bells, bailiffs, gentlemen, ladies, Sando-Mir girls, Kaliki passers-by, the people of Moscow.

The action takes place in Russia and Poland in the years 1598-1605.

Prologue. Picture one. People were herded into the courtyard of the Novodevichy Convent to beg Boris Godunov on his knees to be crowned king. Bailiff's baton
“inspires” the people “not to spare a sip.” Duma clerk Andrei Shchelkalov appeals to God to send down “comfort to sorrowful Rus'.” The day is coming
end. From a distance you can hear the singing of the Kalikas of passers-by. “God’s people” head to the monastery, distributing incense to the people. And they advocate for the election of Boris.
Picture two. The people gathered in the Kremlin in front of the Assumption Cathedral praise Boris. And Boris is overcome by ominous premonitions. But that's it: no one should notice the king's doubts - there are enemies around. And the tsar orders to call the people to a feast - “everyone, from the boyars to the blind beggar.” Glorification merges with
bell ringing.
Act one. Scene one. Night. Cell in the Chudov Monastery. A witness to many events, Elder Pimen writes a chronicle. Young monk
Grigory is sleeping. The singing of prayer can be heard. Gregory wakes up. He is disturbed by sleep, “a persistent, damned dream.” He asks Pimen to interpret it.
The dream of the young monk awakens in Pimen memories of previous years. Grigory envies Pimen's eventful youth. Stories about
The kings who exchanged “their royal staff, and purple, and their luxurious crown for the monks’ humble hood,” do not reassure the young novice. WITH
With bated breath he listens to the elder as he tells the story of the murder of Tsarevich Dimitri. A casual remark that Grigory and the prince -
peers, gives birth to an ambitious plan in his head.
Scene two.Grigory comes to a tavern on the Lithuanian border together with two vagabonds, fugitive monks Misail and Varlaam - he
makes his way to Lithuania. The thought of imposture completely occupies Gregory, and he does not take part in the small feast that the elders arranged.
Both of them are already very tipsy, Varlaam begins to sing. Meanwhile, Grigory asks the hostess about the road. From a conversation with her he learns
that outposts have been set up: they are looking for someone. But the kind hostess tells Gregory about the “roundabout” path. Suddenly there is a knock. Easy in sight
The bailiffs appear. In the hope of profit - the elders collect alms - the bailiff with “bias” interrogates Varlaam - who they are and where they come from.
The decree about the heretic Grishka Otrepiev is retrieved. The bailiff wants to intimidate Varlaam - maybe he is the heretic who fled from Moscow? Read the decree
Gregory is called. Having reached the signs of the fugitive, he quickly gets out of the situation, indicating the signs of his companion. The bailiffs rush at Varlaam. Seeing that things are taking a bad turn, the elder demands that he be allowed to read the decree himself. Slowly, deliberately, he pronounces the sentence on Grigory, but Grigory is prepared for this - jump out the window, and remember his name...
Act two. Tsar's tower. Princess Ksenia cries over the portrait of her deceased groom. Tsarevich Theodore is busy with the “book of a large drawing.” Mom doing needlework. With jokes, jokes and simply heartfelt words, she tries to distract the princess from bitter thoughts. Tsarevich Theodore responds to his mother's fairy tale with a fairy tale. Mom sings along with him. They clap their hands and act out a fairy tale. The Tsar affectionately calms the princess and asks Theodore about his activities. The view of the Muscovite kingdom in the drawing causes Boris to have a heavy thought. In everything - both in the disasters of the state and in the misfortune of his daughter - he sees revenge for the crime committed - the murder of Tsarevich Dimitri. Having learned from Shuisky, the cunning
the courtier, about the appearance of the Pretender in Lithuania, Boris demands from Shuisky confirmation of the death of the prince. Shuisky cunningly describes the details
villainy. Boris cannot stand the torture: in the wavering shadows he sees the ghost of the murdered boy.
Act three. Picture one. In Sandomierz Castle, Marina is behind the toilet. The girls entertain her with a flattering song. Panna Mniszech is dissatisfied: she wants to hear about the glorious victories of Poland, the ambitious Marina dreams of the throne of the Tsars of Moscow. The Jesuit Rangoni appears. By the power of the church
he conjures Marina to entangle her in the love nets of the Pretender.
Scene two. On a moonlit night in the garden, by the fountain, the Pretender dreams of Marina. Rangoni sneaks up on him. With sweet speeches about Marina’s beauty, the Jesuit lures the Pretender into confessing his passionate love for the proud lady. A noisy crowd of cheerful guests is passing through the garden - they are anticipating the victory of the Polish army over Borisov's army. The impostor is hiding behind the trees. Marina appears. With caresses, whims and ridicule she kindles the ambition of the Pretender.
Act four. Picture one. In front of St. Basil's Cathedral, people are animatedly discussing rumors about the approach of the Pretender's army, the service
in the church, anathema to Grishka Otrepiev and eternal memory that was sung to Tsarevich Dimitri. The common people are sure that the Impostor is
the real Tsarevich Dimitri, and is outraged by the blasphemy - to sing eternal memory to the living! The Holy Fool runs in, followed by a flock of hooting boys.
The holy fool sits on a stone, mends his bast shoes and sings. The boys surround him and take away the penny he was just boasting about. The holy fool is crying. From
The boyars come out of the cathedral and give out alms. The royal procession begins. On their knees, with their hands stretched out to the king, the hungry, the ragged - all the people gathered in the square - beg for bread. Boris, seeing the grieving Fool, stops and asks how they offended him. The holy fool naively and impudently asks the king to kill the offending boys, just as he killed the little prince. Boris stops the guards rushing to
Holy Fool, and asks the blessed one to pray for him. But you cannot pray for King Herod - “The Mother of God does not command.” This is the verdict of the people.
Picture two. A meeting of the Boyar Duma is taking place in the Faceted Chamber of the Moscow Kremlin. The fate of the Pretender is being decided. slow-witted boyars
They regret that without Shuisky “the opinion turned out to be bad.” And here is Prince Vasily. His story about Boris’s seizure arouses the distrust of the boyars, but with an exclamation
“Cheer, child!” the king himself appears. Having come to his senses, Godunov sits down in the royal seat and addresses the boyars. Shuisky interrupts him with a proposal
listen to a humble old man who wants to tell a great secret. This is Pimen. His story about the miracle of insight associated with the name of the murdered prince,
deprives Boris of his strength. Feeling the approach of death, he calls Tsarevich Theodore to him and gives his son a strict order to rule Russia fairly, to honor
saints of God, take care of his sister, and prays to heaven for mercy on his children. The funeral bell is heard, and the funeral cry is approaching - the schema, “in
monks, the king is coming.”* Boris is dying.
Scene three. The forest clearing near Kromy is filled with a crowd of tramps. They mock Godunov's governor, boyar Khrushchev. Varlaam is right there
and Misail, inciting the people with stories about executions and massacres in Rus'. The people have only one sentence for this: “Death, death to Boris!” Under the hot hand
Jesuits come across. The Impostor appears, the people greet him. And although the Jesuits and the governor are freed by the Pretender, everyone follows him to Moscow. Only the Holy Fool sits alone on the stone. His mournful song predicts trouble, bitter tears, dark, impenetrable darkness.
* Before their death, kings were tonsured as monks.

In this article we will look at the most famous work M. P. Mussorgsky - “Boris Godunov”. Summary The opera will be scheduled with special care. This work is programmatic for the composer.

A little about opera

The work “Boris Godunov” (a summary of the opera is presented below) was created in 1869, and the first production took place only in 1874. The work was based on historical events 1598-1605, which coincided with the appearance of False Dmitry in Moscow.

However, immediately after completion the opera was refused to be staged. Two more editions and the support of influential friends were needed for the work to be brought to life on the stage of the Mariinsky Theater.

The libretto of the opera "Boris Godunov" was based on work of the same name A. S. Pushkin and materials taken from the “History of the Russian State,” written by N. M. Karamzin.

Characters of the opera "Boris Godunov"

Boris Godunov.
His son Fedor.
His daughter Ksenia.
Ksenia's mother (nurse).
Prince Shuisky, Vasily Ivanovich.
Duma clerk Andrey Shchelkanov.
Hermit and chronicler Pimen.
An impostor named Gregory.
Daughter of the Sandomierz voivode Marina Mnishek.
Secret Jesuit Rangoni.
Tramp Varlaam.
Tramp Misail.
The owner of the inn.
Holy fool.
Bailiff Nikitich.
Boyarin Khrushchev.
Close boyar.
Jesuit Lavitsky.
Jesuit Chernikovsky.
Mityukha.
1st peasant.
2nd peasant.
1st woman.
2nd woman.

Also participating in the performance are the boyars and their children, bailiffs, archers, gentlemen, girls, Moscow people and Kaliki passers-by.

The opera takes place in Russia and Poland and lasts from 1598 to 1605.

Prologue. Scene 1

The action of the work “Boris Godunov” begins in Moscow. The summary of the opera takes the audience to the courtyard square of the Novodevichy Convent, which is full of people. A bailiff walks among those gathered and, constantly playing with his baton, asks that all those gathered immediately kneel down and begin to pray to Boris Godunov that he agreed to become king. Then Shchelkanov comes out to the assembled people and reports that the boyar does not agree, does not want to become the Tsar of Russia.

You can hear the singing of people passing by. “God’s people,” leaning on the backs of their guides, approach the walls of the monastery. They distribute amulet to those they meet and ask them to pray that Boris will be elected to reign, only this will save Rus'.

Scene 2

Now the summary of the opera “Boris Godunov” takes us to the majestic coronation. The action takes place on the square of the Moscow Kremlin. The bells are ringing, the boyars are solemnly marching under the arches of the Assumption Cathedral. Prince Shuisky stands on the porch and loudly pronounces the solemn “Long live Tsar Boris Fedotovich!” All those gathered praise the new king.

Boris Godunov comes out to the porch. He is tormented by doubts and gloomy forebodings. It was not without reason that he did not want to be crowned king. However, the Tsar orders the Moscow people to be summoned to a feast.

Act one. Scene 1

The summary of the opera “Boris Godunov” continues at night. The viewer appears before the viewer. In one of his cells, Pimen, an old man who has seen a lot in his life, writes a chronicle. Right there, in the corner, Gregory, a young monk, took refuge and was fast asleep. Prayer singing can be heard from afar.

Suddenly Grigory wakes up abruptly. The young man sees that Pimen is awake and decides to reveal to him the dream he had, which greatly alarmed the monk. And at the same time he asks the elder to interpret what he saw. Gregory retells the dream.

The monk’s dreams force Pimen to remember the past, about those kings who exchanged their purple and royal staff for the “monks’ humble hood.” With great curiosity, Grigory listens to the elder’s stories about the death of little Tsarevich Dmitry. Pimen also notes that the young man and the deceased prince are the same age. An insidious plan suddenly comes to Grigory's mind.

Scene 2

Modest Mussorgsky became famous largely thanks to this opera. “Boris Godunov,” one might say, became the crown of his creations. But let's return to the work itself.

Lithuanian border, tavern near the road. Misail and Varlaam, fugitive monks, enter the room. Grigory ends up with them. The good-natured hostess begins to treat everyone who enters. The tramps are happy, they sing songs and drink wine. However, Gregory does not share their happiness. The young man was consumed by thoughts of his planned plan - to impersonate the deceased Dmitry. That is why the former monk is in a hurry to Lithuania. He is not entirely sure about the road, and begins to ask the owner about it. kind woman talks about outposts that are placed on all roads - they are looking for someone. However, this is not a hindrance, since there are other roads that bypass the barriers.

Suddenly a knock is heard on the tavern door, and then the bailiffs enter. They keep a close eye on the former monks as they feast. Apparently, considering them suspicious, the government officials approach them and begin questioning them. Then they show the royal decree, which says that it was ordered to catch the monk Grigory Otrepyev, who fled from the Chudov Monastery.

The attention of the bailiffs is drawn to a young man sitting separately from the others. But before they can approach him, Grigory jumps out through the window onto the street. Everyone present rushes to catch him.

Act two

What makes the work even more interesting is that the opera “Boris Godunov” is based on real events. The summary of the opera depicts a richly decorated royal tower in the Moscow Kremlin. Here Princess Ksenia is crying, standing next to the portrait of her recently deceased groom. Not far from her is Tsarevich Fyodor, who is reading a book of the “big drawing”. Ksenia's mother is busy with needlework. Those present try to cheer up the princess. Therefore, the mother begins to sing funny tales, the prince joins her, fooling around.

Suddenly Boris enters. He approaches his daughter and begins to gently calm her down. Then he turns to Fedor, asks about his academic success and praises him for the work he has done. However, these conversations cannot distract the king from the terrible thoughts tormenting him. For the sixth year now he has been sitting on the throne, but neither he nor Rus' is happy. The country is groaning from hunger.

Boris believes that both the famine in the country and the death of Xenia's fiancé are revenge for the terrible crime he committed - the killing of Tsarevich Dmitry.

Boyar Blizhny appears. He bows to Boris and reports that Prince Vasily Shuisky is waiting for a conversation with the ruler. Godunov orders Shuisky to be let in. The prince says that an impostor has appeared in Lithuania, who imagines himself to be Tsarevich Dmitry.

The Tsar demands that Shuisky tell everything he knows about the death of the baby. The prince talks about the crime committed in every detail, trying not to miss the details. Boris, already tormented by his conscience, cannot stand it. The king sits heavily in his chair. In the shadows, constantly wavering, he imagines the ghost of the murdered Dmitry.

Act three. Scene 1

Mussorgsky practically did not deviate from Pushkin's plot in his work. The opera “Boris Godunov” (the summary confirms this) clearly follows the plot outlined by the poet.

Sandomierz Castle, Marina Mniszech's room. Panna is surrounded by girls who tirelessly praise her beauty. However, Marina is bored, she is tired of flattering speeches. She has another dream - to be on the Moscow throne with the help of marriage.

Then Rangoni appears at the door of her room. This man, hiding behind the power that the church has given him, asks Marina to make the impostor fall in love with her, and then convince her to fight for the right to be on the Russian throne.

Scene 2

Poland is depicted in Mussorgsky's opera Boris Godunov. Moonlit night, the Pretender stands by the fountain in the garden and indulges in voluptuous dreams of Marina. At this moment Rangoni approaches him. The Jesuit begins to talk about the incredible beauty of Mary and gradually lures a declaration of love for the lady from the Pretender. A crowd of cheerful and noisy guests are walking nearby, who have already begun to celebrate the victory of the Polish troops over the forces of Tsar Boris.

The impostor hides from them behind the trees. Soon the whole company returns back to the castle, and Marina returns back to the garden alone. A duet sounds in which young people declare their love and make ambitious plans for the future.

Act four. Scene 1

Now Mussorgsky is bringing viewers back to Moscow. The opera “Boris Godunov” is rich in scenes where one of the main characters is the Russian people. Thus, a cathedral is depicted in the square of which Moscow people gathered. They discuss rumors and news about the approaching army of False Dmitry and news about the anathema imposed on Grishka Otrepiev.

Suddenly a holy fool appears in chains and is pursued by barefoot boys. They tease the holy fool and quickly bring him to tears. Mass ends. The royal procession from the cathedral begins, the accompanying boyars handing out alms to those gathered. Then Tsar Boris appears, followed by Prince Shuisky and the rest.

The people kneel down and ask the Father Tsar for bread. The holy fool immediately turns to Boris, complaining about the boys, and asks the Tsar to kill them, just as he killed little Dmitry. People retreat in horror. The guards rush to the holy fool, but Boris stops them and leaves, asking the blessed one to pray for his sinful soul. However, from the lips of the holy fool one hears a sentence to the king: the Mother of God does not order to pray “for King Herod.”

Scene 2

The action takes place in (the Moscow Kremlin). An emergency meeting of the Boyar Duma takes place. Shuisky enters the chambers and reports that he just happened to see the tsar calling out to the dead Dmitry and driving away the ghost of the murdered baby, whispering “keep away, child.” Repeating the same words (“keep away, child”), Boris Godunov appears at the meeting.

Gradually the king comes to his senses and sits down in his place. Shuisky turns to him and asks him to listen to a certain old man who wants to tell a great secret. Boris gives his consent.

Pimen enters. The elder begins his story, full of hints about the insidious and dishonest murder of Dmitry. The Tsar becomes agitated by these words and falls, exhausted, into the arms of the boyars. Boris feels that his death is close, he asks that they immediately send for Fedor. Because he wants to bless his son and transfer the right to reign. The death knell is heard. Godunov dies.

Scene 3

A path through the forest near the village of Kromy, located almost on the Lithuanian border. A crowd of tramps are walking along the road, leading the boyar Khrushchev. The prisoner is threatened and slandered against Boris Godunov. In this crowd is the holy fool, again surrounded by ragged boys. And Varlaam and Misail, talking about reprisals and executions in Rus', inflame the people even more. Former monks call on those gathered to defend the rightful heir to the throne, Dmitry. The people support them and wish Boris dead.

The Pretender appears on horseback, followed by an army. He declares himself Russian Tsarevich Dmitry Ivanovich and invites everyone to come with him to Moscow. Those gathered glorify the Impostor and follow him.

Only the holy fool remains on the road. He sings a mournful song in which he predicts bitter tears and dark, impenetrable misfortune.

This is how the opera “Boris Godunov” ends. The summary for children may not include all scenes. It is advisable to exclude those that describe the terrible details of Dmitry’s death.