Our first production of a Russian opera, "Boris Godunov" in 1948 was interesting as it was finally decided that we should present the original Mussorgsky version, not the one orchestrated by Rimsky-Korsakov which was then more widely known and is still used in the Soviet Union. It is now fashionable to sneer at Rimsky-Korsakov's orchestration as lessening the impact of the work and being too lush and "Hollywood". We certainly no longer needed his corrections of Mussorgsky's so-called harmonic "mistakes" which were simply too harsh for the time when the opera was written. Nevertheless, Rimsky made a workable, practical, theatrical version - notably in the Coronation Scene which Mussorgsky's original is disastrously short and without any build-up to a satisfactory climax. The range of voice demanded by Mussorgsky for the part of Boris is incredible and some alterations had to be made to accommodate the singer. Somehow the "Star" got hold of this and carried a little paragraph: "... Tonight's version will have three bars of music that are neither Mussorgsky nor Rimsky Korsakov. To avoid an awkward change of key in one of the Boris songs they have been inserted by Temple Savage, Covent Garden librarian, who looks after scores and edits them for use." "Boris Godunov" was produced by Peter Brook who wrought the chorus to such a pitch that on the first night they behaved like true revolutionaries and beat the chorister playing the part of the peasant Kruschev black and blue. If it had been a film this could have been captured permanently but in repertory the tension gradually lessens and audiences later in the season may well have wondered what all the fuss was about. << less