2004, regia di Willy Decker
Scheda: Nazione: Spagna - Produzione: Willy Decker's production - Distribuzione: Tdk Mediactive - Soggetto: dall'omonima opera lirica di Modest Petrovič Musorgskij, e dal dramma omonimo di Aleksŕndr Sergeevič Puškin - Musiche: di Modest Petrovič Musorgskij - Scenografia: John MacFarlane - Costumi: John MacFarlane - Musiche: di Modest Petrovič Musorgskij - Direttore: Sebastian Weigle - Coro e orchestra: Orquestra Simfonica i cor del Gran Teatre del Liceu di Barcellona - Formato: Color - Durata: 152'.
Cast:Matti Salminen, Anatoly Kotcherga, Par Lindskog, Marie Arnet, Stefania Toczyska, Philip Langridge, Brian Asawa, Eric Halfvarson, Albert Shagidullin.
Trama e commenti: webster.it - unilibro.it - stradivarius.it
Plot Summary, Synopsis, Review: rottentomatoes.com - integralmusic.fr - musicomh.com - naxos.com - onedvd.ch - cduniverse.com - gaystation.info - amazon.co.uk: «This excellent DVD of a live 2004 performance of Boris Godunov from the Gran Teatre del Leceu of Barcelona is the only one I know of that presents the original 1869 version; this is the version that Mussorgsky never saw because the Mariinsky Theatre powers-that-be urged him to include more female parts and so he wrote an addition scene, the so-called Polish scene, the one with Marina and Cardinal Rangoni that included a love scene for Marina and Grigory, 'the false Dimitri'. That scene is not included here, thus there is no Marina, no love duet and no choral polonaise in this production. This version is in seven scenes, and does include the St. Basil's Cathedral scene which is often dropped from the revised versions. Willy Decker's staging (with costumes and sets by John MacFarlane) is minimalist in approach. It is vaguely updated to the early twentieth century (but obviously before the Revolution) and focuses much more on the psychology of the opera than its actual historical aspects. Much use is made of symbolic props -- a humongous throne/chair that actually becomes part of the set rather than a prop, and the Tsar's crown. In the short introduction we see the 'real' Tsarevich Dimitri murdered and physically he looks a good deal like the Simpleton whose presence in Scene VI is so important; thus are guilt and conscience conjoined. Further, Boris is made to look more like a passive participant in the Tsarevich's murder than an actual perpetrator; Shuisky is the real bad guy here. Boris's guilty conscience is all the more affecting as a result...».