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Modest Mussorgsky: Boris Godunov (Teatro Regio, Torino) [Blu-ray] [2010]

Orlin Anastassov , Ian Storey , Andrei Konchalovsky , Francesca Nesler    Exempt   Blu-ray
4.4 out of 5 stars  See all reviews (5 customer reviews)
Price: £29.26 & FREE Delivery in the UK. Details
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Frequently Bought Together

Modest Mussorgsky: Boris Godunov (Teatro Regio, Torino) [Blu-ray] [2010] + Meyerbeer: Robert Le Diable [Bryan Hymel, Patrizia Ciofi, John Relyea] [Opus Arte: OABD7121D] [Blu-ray] [2013] [Region Free]
Price For Both: £59.25

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Product details

  • Actors: Orlin Anastassov, Ian Storey, Vladimir Vaneev, Peter Bronder, Gianandrea Noseda
  • Directors: Andrei Konchalovsky, Francesca Nesler
  • Format: Classical, Widescreen
  • Language: English
  • Subtitles: English, French, German, Spanish
  • Region: Region B/2 (Read more about DVD/Blu-ray formats.)
  • Aspect Ratio: 16:9 - 1.78:1
  • Number of discs: 1
  • Classification: Exempt
  • Studio: Opus Arte
  • DVD Release Date: 27 Jun 2011
  • Run Time: 165 minutes
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (5 customer reviews)
  • ASIN: B0054QZ8QQ
  • Amazon Bestsellers Rank: 96,234 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Reviews

Product Description

Boris Godunov is the story not only of a troubled leader but of an entire nation, and its history is as eventful as that of Mother Russia herself. In this new production, the legendary director Andrei Konchalovsky presents a personal vision of the opera that takes Mussorgskys bare and monumental first version as its basis, while adding the final scene from the composers revision, in which not only the Tsar but the people themselves reveal their fatal flaws. Orlin Anastassov stars in the title role, conducted by Gianandrea Noseda.

Product Description

Boris Godunov

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Most Helpful Customer Reviews
22 of 22 people found the following review helpful
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I bought this blu-ray wondering if a cast list of names I had never seen before, a conductor unkown to me, and production by someone I had never heard of with an Italian orchestra and chorus, I wondered whether they could deliver. I need not have worried, this whole production performed in October 2010 was outstanding in every possible detail. This version was the 1869 version of the opera with the scene in the Kromy forest added. The latter scene is often the final scene, but in this production like some others, the opera concludes with death of Boris. [The Polish act is not in this production.]

The music. You feel all the time the rawness of Moussorgky's music. This is never an opera with heavy orchestral accompaniment or nicely crafted arias and choruses. Every aspect of this production is sensitively intertwined. The music supports the story.

The costumes and make up. There has been some real thought in this. Although the costumes are in some ways traditional for Boris, they accentuate the characters, especially the peasantry. You feel there is a seething mass of public opinion coming from people who had nothing and as the opera points out, almost certainly going to find things going from bad to worse.

The production. As I said, I had never heard of the producer, Andrei Konchalovsky, but I have learnt that he has links with Andrei Tarkovsky, who made the film Andrei Rublev and as it happened made a production of Boris, in which Robert Lloyd sang the role both at Covent Garden and Leningrad. Konchalovsky has clearly produced a masterpiece that brings out the depth of this extraordinary opera, and it is not bound by any operatic conventions.
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12 of 12 people found the following review helpful
4.0 out of 5 stars Some fantastic things in this release 4 Aug 2011
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First and foremost it is ALL Mussorgsky's music, NOT the Rimsky Korsakov version and very well played it is. The Polish scene from the second 1872 version has been left out but the Kromy Forest scene included and I found this version to be ideal. Boris is a hard role to sing however good one is as the ghost of the incomparable Boris Christoff looms inescapably and ever large over every performance. The singers in this release are very good indeed, particularly Varlaam who was quite magnificent. His scene on the Lithuanian border was superb. In fact I found the crowd scenes generally exceptional, aided by skillful camera work that brought out many fine individual performances in these minor roles. Although I am an ardent Christoff fan, I did enjoy this performance very much. All the soloists are excellent with no weak links in either singing or acting. My one concern is the lighting: The colours vary from rich natural golds to blue and almost pink tinting, particularly in the opening crowd scenes that I did not care for at all. This is obviously deliberate but I could not see the purpose of it at all. As a consequence my initial impression as the opera started was bad but as it progressed I was drawn into the performance and was able to enjoy the acting, singing and camera work and gradually came to overlook the less than ideal colour.

There is no other release to compete with this disc at the moment and Boris fans should not hesitate.
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4 of 4 people found the following review helpful
By I. Giles TOP 50 REVIEWER
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This production of Boris Godunov from 2010 attempts to make sense of the muddled situation as to which version to perform. There are detailed notes about the somewhat confused situation but to summarise there are no less than 8 existing versions to consider. This is a further solution which brings the choice up to 9 for the next attempt!

Essentially there was an original opera submitted to and rejected by the Mariinsky Theatre in 1869. It seems that the main problem was Mussorgsky's unconventional approach to orchestration which favoured the darker timbres of instruments rather than the usual, more conventional, brighter and easier playing ranges of the instruments. Mussorgsky substantially re-wrote the opera and this version was the one accepted as the 1872 version. Other versions then appeared such as the one by Rimsky Korsakov which attempted to `correct' or improve the orchestration. Further versions tried to re-instate more of the original, now compromised, concept. The current version is an attempt, to my mind successful, to make performing sense of the situation.

The opera is conceived as an historical survey of the reign of Boris Godunov from the murder of the previous child Tsar, through Boris' mental degeneration through to his final death. This is told in a sequence of tableaux grouped in two sets. The first group consists of 4 scenes and the second group consists of the remaining 4 scenes and a concluding epilogue.

This production is completely involving despite the unremitting gloom of the subject matter. I found the orchestration, here performed as originally intended, to be completely effective in setting the moods for all the scenes.
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3 of 3 people found the following review helpful
4.0 out of 5 stars On the Torino 2010 Boris Godunov blueray 4 Dec 2011
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I have a very limited experience of Boris Godunov performances, having seen it live only once recently (the ENO production in English) a couple of years ago, plus a Russian performance a long time ago and two earlier DVDs . For what it's worth, this blue ray recording of the 2010 Turin performance - Noseda conducting and Orlin Anastassov in the title role- is my favourite, so far. Both the conductor and the protagonist I thought 1st class and the picture quality excellent. There are minimalist sets on a bare dark stage and most of the effects are produced by the crowds moving, varied bright costumes and rich trappings -icons, thrones, golden regalia etc.etc. This is a very cinematic production with short scenes chasing each other, now the crowds of the people, now the scheming Boyars, then unhappy Boris in his palace or monks in a monastery. There is a lot of emphasis in the misery of the Russian people, and it is certainly true that is an important element of this opera. The stage director (cinematographer Konchalovski) depicts in detail the filth, misery, hunger and ugliness plaguing the masses, always manipulated by those in power or the ones aspiring to it. Sudden scenes of violence, torture and horror break occasionally into the set scenes. This is very well done and it probably worked very well on the stage, but in the filmed version (with close - ups and details) tends to become intrusive and destroys the balance between the personal tragedy of Boris , tortured by his conscience and slipping into madness, and the miserable fate of the masses. The fact that this performance is a rather arbitary mixture of the two versions of Mussorgski's opera (the original and the 1872), may have been a contributory factor to the imbalance. Read more ›
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