UNITEL and CLASSICA Present MODEST MUSORGSKY

UNITEL and CLASSICA present

MODEST MUSORGSKY KHOVANSHCHINA MODEST MUSORGSKY KHOVANSHCHINA

ne of the great talents of Modest Musorgsky (1839–1881) was his unique Oability to transpose words, psychological states and even physical move- ments into music. And even if he left his opera “Khovanshchina“ (The Khovan- sky Affair) incomplete and unorchestrated, the sheer theatricality of its musical text reveals the presence of a work that begs for a stage production. The first completion and orchestration was made by Musorgsky‘s contemporary Rimsky- Korsakov, but the more slender, powerful, raw orchestration made by Dmitri Shostakovich in 1960 is the one preferred today, and the version chosen by Kent Nagano for the Munich production recorded here. The plot is a darkly shimmering panorama of ruthless Music by Modest Musorgsky power plays, intrigues and bloodshed in late 17th-century Russia. A nation torn by inner strife, with various factions Conductor Kent Nagano struggling for power at court: the followers of Prince Ivan Orchestra Bayerisches Staatsorchester Khovansky, the leader of the Streltsys (musketeers), and Ivan Khovansky Paata Burchuladze those of Prince Golitsin, faithful to the tsar. Add to this the Andrey Khovansky Klaus Florian Vogt influence of various religious groups, and the action comes Vasily Golitsin John Daszak frighteningly close to mirroring the present-day situation in Boyar Shaklovity Valery Alexejev more than one country. With his stripped-down sets and Dosifey Anatoly Kotscherga historicizing costumes, director Dmitri Tcherniakov, one of Marfa Doris Soffel the new voices of contemporary Russian theater, throws a Old Believers Helena Jungwirth bridge to the political present. The historical pessimism of the Lana Kos opera, says Tcherniakov, “is legitimated by Russian history Anaik Morel and Russian life. Basically, nothing has changed.“ The Clerk Ulrich Reß Kent Nagano superbly masters the challenges Emma Camilla Nylund presented by this score, shapes the dynamics with subtle Varsonofyev Marc Pujol intensity, and casts the score in a mellow glow. As Marfa, the Kouzka Kevin Conners spurned lover of Ivan Khovansky‘s son Andrei, Doris Soffel 1. Streltsy Christian Rieger unfolds such a rich palette of sonorities, from the pathos of the 2. Streltsy Rüdiger Trebes lower ranges to shaded discant heights, that “one is tempted Streshniev Kenneth Roberson to speak of a Russian mezzo.“ (Eleonore Büning, F.A.Z.) Staged by Dmitri Tcherniakov Anatoly Kotscherga portrays the religious leader Dosifei with Video Director Karina Fibich fervor and bluster, Klaus Florian Vogt dazzles heroically as Andrey, John Daszak is a technically flawless Golitsin, and Length 220' bass-baritone Paata Burchuladze gives a charismatic, forceful A production of Unitel account of Prince Ivan Khovansky. The final chorus, which in co-production with Classica Musorgsky did not compose, is played in the orchestrally in co-operation with the Bayerische Staatsoper transparent version of Igor Stravinsky – the third great Russian composer who contributed to making “Khovanshchina“ a shot in HDTV 1080 gripping stage work for all times. Cat.no. A05016473