Operas in General
- Emerson, Caryl. “Musorgsky’s Libretti on Historical Themes: From the Two
Borises to Khovanshchina.” In Reading Opera(#218), 235–267.
Covers much of the same ground as Taruskin (#1355), with new material on
Khovanshchina. Considers various contemporary and later revisionist cri-
tiques of the opera and looks for evidence of progressive social themes in it.
Musorgsky began with “a kuchkistpassion for verisimilitude,” then became
more flexible. In Khovanshchinathe reality is focused on each character’s
sense of time and of the past; all are bound by fate. - Taruskin, Richard. “Serov and Musorgsky.” In Eight Essays(#1346), 96–122.
“Musorgsky rejected Serov but all his works accepted him.” Many similarities
are identified, some that may be borrowings (including principal scenes in
Boris). Much of Musorgsky’s style can be traced to Alexander Serov’s works.
Taruskin presents a vivid view of “the tumultuous world of St. Petersburg
musical politics” of the mid–19th century.
Individual Works
Boris Godunov
ASO27/28 (1980) and 191 (1999), ENOG 11 (1982), Rororo (1982).
- Fulle, Gerlinde. Modest Mussorgskijs “Boris Godunov”: Geschichte und Werk,
Fassungen und Theaterpraxis.Wiesbaden: Breitkopf und Härtel, 1974. 357p.
ISBN 3-7651-0078-1. ML410 .M97 F84.
The libretto in all versions; performances and reception in Western Europe,
1913–1971. Good documentation throughout, with 600 footnotes and a bibli-
ography of about 250 items. Musical examples, no index. - Emerson, Caryl, and Robert William Oldani. Modest Musorgsky and Boris
Godunov: Myths, Realities, Reconsiderations.New York: Cambridge U.P., - xiii, 339p. ISBN 0-521-36193-1. ML410 .M97 E43.
A valuable examination of genesis, ideology, the 1874 revision (preferred to
the 1869 original), reception, performance history, and interpretation. Musical
analysis, with examples, is technical. The historical Boris is described, and lit-
erary sources are detailed. Changes to the opera by Rimsky-Korsakov and the
new orchestration by Shostakovich are discussed. Backnotes, good bibliogra-
phy of about 150 items, index. - Oldani, Robert William. “Musorgsky’s Borison the Stage of the Maryinski The-
ater: A Chronicle of the First Production.” OQ4-2 (Summer 1986): 75–92.
The production took place on 27 January 1874 (old calendar) in St. Peters-
burg. Genesis, description of the cuts that reduced the duration from 3 hours
and 15 minutes to 2 hours and 20 minutes, reception (hostile critics, enthusias-
tic audience).
260 Opera