Boris Uvajdov Knigu

Boris Godunov (opera) The Russian-language libretto was written by the composer, and is based on the drama Boris Godunov by Aleksandr Pushkin, and, in the Revised Version of 1872, on Nikolay Karamzin 's History of the Russian State.

Mussorgsky in 1870 Original Version When, the sister of, learned of Mussorgsky's plans, she presented him with a volume of Pushkin's dramatic works, interleaved with blank pages and bound, and using this, Mussorgsky began work in October 1868 preparing his own libretto. Consists of 25 scenes, written predominantly in. Mussorgsky adapted the most theatrically effective scenes, mainly those featuring the title character, along with a few other key scenes (Novodevichy, Cell, Inn), often preserving Pushkin's verses. Mussorgsky worked rapidly, composing first the in about nine months (finished 18 July 1869), and completed the full score five months later (15 December 1869), at the same time working as a civil servant. In 1870, he submitted the libretto to the state censor for examination, and the score to the literary and music committees of the Imperial Theatres.

However, the opera was rejected (10 February 1871) by a vote of 6 to 1, ostensibly for its lack of an important female role. Lyudmila Shestakova recalled the reply made by conductor and stage manager of the in response to her question of whether Boris had been accepted for production: 'No,' they answered me, 'it's impossible. How can there be an opera without the feminine element?! Mussorgsky has great talent beyond doubt. Let him add one more scene. Then Boris will be produced!'

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Msi ms 7641 lan driver. — Lyudmila Shestakova, in My Evenings, her recollections of Mussorgsky and, 1889 Other questionable accounts, such as Rimsky-Korsakov's, allege that there were additional reasons for rejection, such as the work's novelty: '.Mussorgsky submitted his completed Boris Godunov to the Board of Directors of the Imperial Theatres. The freshness and originality of the music nonplussed the honorable members of the committee, who reproved the composer, among other things, for the absence of a reasonably important female role.' — Nikolay Rimsky-Korsakov, Chronicle of My Musical Life, 1909 'All his closest friends, including myself, although moved to enthusiasm by the superb dramatic power and genuinely national character of the work, had constantly been pointing out to him that it lacked many essentials; and that despite the beauties with which it teemed, it might be found unsatisfactory in certain respects. For a long time he stood up (as every genuine artist is wont to do) for his creation, the fruit of his inspiration and meditations.