Boris Godunov at ENO

It's been a while since I posted about something musical here, so here goes - a short review of ENO's new production of Musorgsky's Boris Godunov, which opened last night at the Coliseum.

The piece, for those who don't know it, is pretty dark, and ENO's production, directed by Tim Albery makes no attempt to lighten things. The dark, troubled times in which Russia finds itself are reflected in a mostly grey, heavily crosslit design; the parallel with the turmoil in Tsar-elect Boris' mind is made clear, as he struggles with his guilt at having murdered, years before, the young heir to the throne for which he has now been chosen. The excellent ENO chorus (plus extras) are both a crowd and an organic part of the design - a moving part of the grey, bleak backdrop to the story of a man failing to find any peace with himself.

The production ran for two and a quarter hours without a break, so the drama had to be convicing. Generally, it was - Albery's direction did a very good job of keeping the story flowing, despite the fact that really, not an awful lot happens. The production is also blessed with some excellent singing from, amongst others, two of this country's finest basses. Peter Rose as Boris sang beautifully, and acted with an intensity which I cannot remember seeing from him before. The moment, rather reminiscent of Macbeth, where he sees a vision of Dmitri, the boy he murdered, was fantastically powerful, and dramatically chilling. Brindley Sherratt, as the monk Pimen, produced the most gloriously rich, dark tone and carried off the portrayal of an aged monk with great dignity. Both were admirable for their clear diction too.

Of the rest of the cast, this cut version (more reminiscent of Musorgsky's first version than his final one) allows few other principals much time. Nevertheless, Robert Murray was excellent as the simpleton, Gregory Turay made a lovely sound as Grigory, and Anna Grevelius was an utterly convincing boy as Fyodor, Boris' son.

The ENO Orchestra under Edward Gardner's fine conducting were superb - and this is, finally, what made this evening more than just a very miserable, grim story where the title character dies at the end. The musical standards were very high, the production fitted the drama, and the overall effect was moving. Don't go and see it for laughs - I counted two. Go and see it for the drama, because it's very good.