New-York tribune., 1908-05-24
RUSSIAN GRAND OPERA
Partisan Musical Public Cites OUd-
ton to Boris GOdOun0r.
Especial by French Cabi. TO The Tribune
ICorxrifht. 1905. by The Trihune Associstion


copyright. 1905 by The Tribune Association
Paris, May 23.-The enterprise of the new
management Of the Grand Opera in producing
in the Russian language with Russian choruses'
Russian singers and a Russian conductor the
great historic and tragic opera Boris Godou-
now" composed by the late Modesto Nous
sorgsky. is rewarded with brilliant success The
action closely follows the drama, as related by
Pouchkine, of Boris Godounow assuming the
sceptre Of the Cars at the end of the sixteenth
century and his tragic death on the throne in
1905. This stirring page Of Russian history Is
reconstructed with tremendous theatrical ef-
feet by a rapid succession Of Shakespearlan
scenes. radically different from any operauc
work ever presented here.
Moussorgsky was q supremely realistic COM
poser who sought in music the direct and I'M
mediate expression Of action and truth Ihere
is symphonic development, as with wagner
nor any elaborate fnales nor catching morceaux
written for effect, in the traditional opera
Moussorgsky used music simply as a language
in which TO express his ideas, and his music IN
Boris Godounow" speaks Russian, just as Ra-
meau with his music in "Hippolyte ct Aricie'
speaks French Moussorgsky was the great ma
tional Russian composer just as Ranleau was
the national French composer.
Such is the consensus of opinion here in re-
=
its grand Homeric rolling waves Of passion, is
pronounced by most of the Partisan musical
critics to be masterpiece, while others say
that il narrowly misses being one Certainly
the only choral effect at all to be compared with
that obtained in Boris Godounow' is that found
in The Meistersinger.' All agree that the
grand movement Of masses of people as pre-
sented by the Russian artists surpasses IN dra-
matte power and intensity anything of the kind
hitherto produced at the Paris Opera. Chalia-
pine, who took the part OF Boris, was superb
especially in the last act, when he, overwhelmed
with remorse, dons the monks robe which the
Cars assume when dying and expires under his
last terrible hallucination. This is considered
by far the finest impersonation in Chaliapine's
repertory, and ELECTED an ovation from the
Partisan musical public.
At the Opera Comique Albert Carre had
happy inspiration in producing Rimsky Korsa-
kow's opera "Snegourotchka." Last night was
the first occasion upon which this light, charm
ing work has been given outside of Russia The
libretto. adapted by Pierre Lalo, is delightful.
Snegourotchka is the daughter Of Winter, who,
having started for the North Pole. has left her
in charge Of moujik and his wife.
Poets princes and musicians strive in vain to
win her hand. The good old Car. Berendef.
10 put end TO the commotion this girl is Gre
ating among the youths of the realm, orders her
to choose husband within twenty-four hours.
She does AS the lovers embrace Snegou-
rotchka faints and melts like snow. II is the
explanation Of the symbol, for as the daughter
Of Winter she is destined melt at the first
touch Of the warm rays Of love. Il is grace
ful operetta, replete with catching melody and
dance music, contrasting with the grand lyric
tragedy Boris Godounow,' and contains one
Of the most fascinating ballets imagina BILE.
danced to perfection by Mile Regina Badet
which elected such enthusiasm last night that
the audience insisted upon the whole ballet from
beginning to end being repeated. c. LB