Evening star., 1928-04-20
CHAL|AP|N SINGS
boris GODOUNOv
Russian Adds to LaureIS in
Second Opera of MetropoIl-
tan Company's Series.


| edged to be the outstanding Russian
singer of today greatly increased the
admiration always awarded him In
/ washington with the marvellous perform
ance which he gave as Boris, Car of
/ the Russias, in Moussorgskys' opera
Boris Godounov," which was sung at
Polls Theater Yesterday afternoon. 1t
was the second in the series of four pro-
auctions being presented here this week
by the Metropolitan Opera Co. OF New
York
A large audience, including an ex-
ceptional proportion OF men, gave the
great haSSo an ovation after every ap-
pearance during the opera, The star
had remarkably fine background i'll
choral support and the other members
Of the production we're well cast,
The settings and costumes used de-
serve special mention. They were de-
signed by A. Golovine. an artist Of Mos
COW and petrograd before the war, in
accordance with the command of the
late Empress of Russia.
Actual Scenes Portrayed,
The actual, traditional scenes of the
reign of Boris Godounov, ruler of Rus
Sia from 1898 to 1905. were carefully
followed out in the detail OF scenes.
The majority of the costumes used in
this production we're the original cos
tunes made at the time of the En-
press command, These settings and
costumes are not as exotic and spec
tacular as those designed by modern
Russian artist. such as Soudekin. who
has done many other sets for operas at
the Met" probably would be.
However. the Golovine designs do
emphasize the authenticity Of an opera
that is uniquely based upon real facts of
history and not upon some elaborate
libretto, purely imaginary or based upon
legends.
Boris Godounov" is not a romantic
tale OF passionate love and equally vio-
lent death. It is more like an operatic
necklace, each coiorful link OF which
brings another unified episode TO the
entire mosaic design that forms pic
tureSQue background for the remark
ably vivid gem of dramatic personality
that is Chaliapin. 1t would seem almost
impossible TO visualize a performance
of Boris Godounov" without the giant
Russian, who is the dominant artist
among bassos of the operatic world to-
day. He is Boris.
With every subtle device. both vocally
and in dramatic gesture, Chaliapin
builds up the tyrannical. towering char
acter Of the great Boris and with equal
fnesse shows the detailed process of the
tragic crushing of that power under its
own weight through mental nallucina-
tions that eventually result in the death
of Boris.
Own Version OF Role.
II might he of interest to those who
heard the performance yesterday and
perhaps others too 20 know Chaliap3n' S
own version Of how he first studied the
role of Boris, as given in his autobiog-
raphv recently published, entitled
Pages from NV Life" In 1t he says:
Il liked Boris Godounov' so much
that. not content with studying my own
role, sang the entire opera in all its
parts. both male and female, from be-
ginning to end The more learned OF
MousSoTgSky's opera the clearer 1t be-
came TO me that even Shakespeare s
plays could be worthily treated In that
way"
As Norma" tells the story of a wom-
an Of great ideals and power OF per-
sonality, so Boris" tells the story Of
strong man The beautifully sung
ctorases and the excellent orchestral
accompaniment, all directed admirably
bv Vlncen3o Beilezza, were as the tap
estry background Charlotte Ryan was
particularly effective as the czareyitcn,
Teodoro, and the final scene between
Boris and his small son was extremely
impressive.
Angelo Bada as Schouisky was ex-
ccllent Ellen Dalossy was q charming
xenia and Ina Bourskaya was equally
fine III her individual Interpretation OF
the small role Of the nurse.
Armand Tokatyan as DiInitri. Ezio
Pima as the aged monk, Pimenn, and
Julia Claussen as Marina, had their
separate moments Of individual effect
iveness Paolo Afsanian as Varlaam and
GioTdano Paltrinieri as Missail provid-
ed comedy caricatures that were dis
ttnctive But the opera was Chaliapins s.
There Is no opera tonight. H. F.