Moussorgski - La Khovantchina (complet - ST eng) 

Такой состав певцов, такой дирижер - мечта осуществилась. Все идеально по исполнению. Хоть услышала Людмилу Семчук. Когда-то слушала ее живьем, вот это мощнейший голос. Атлантов, Гяуров великолепны, как всегда, - это эталон.

As wonderful as Boris Godunov is (and I do love that opera), I have to say that this truly is Mussorgsky's masterpiece.

Кочерга, Шемчук, Атлантов, Бурчуладзе, Гяуров выше всяких похвал!!! Полный восторг!!! Браво, браво, браво! На одном дыхании.

I've heard pretty much every orchestration of this opera and every variation of the orchestrations, and for my money the Stravinsky ending remains the most beautiful, the most haunting and the most effective.

Listening to this I am, once again, awestruck by the genius of Mussorgsky. What did we lose as a consequence of his early death?

in this opera we move from one musical summit to another.

I've watched this performance many times, it's truly amazing ... and brilliant.

Absolutely stunning music. I think Mussorgsky's melodies are under-rated.

The slav soul, and particularly the Russian spirit, permeates this most beautiful work.

Rarement une ouverture m'aura autant ému, autant obsédé. Sans jamais m'en lasser, toujours sujet à la même émotion, depuis des années, je l'écoute,. Magifique opéra, qui malheureusement est trop peu programmée chez nous.. Merci JF52opera José.

Shaklovity is absolutely amazing. His aria is the best part of this brilliant production (musicwise)

27:09, 1:48:57 Nicolai Ghaurov! What a magnificent voice, even if he is not in his prime...

Thank you for all the wonderful operas that you have uploaded with multiple language subtitles. A real treat indeed.

Да здравствует великий композитор Модест Петрович Мусоргский!

Love the whole opera and with performance it is............

Mr Burchuladze at 1:04:46 delivers a tremendous vocal and theatrical performance, and does full justice to the powerful score.

La MUSIQUE ET LES CHANTEURS SONT SPLENDIDES .HEUREUSEMENT, CAR JE N'AI RIEN COMPRIS À L'HISTOIRE !

Потрясающее. Спасибо за видео.

This is extraordinary.

Fantastic production! thank you so much for posting this!!

A great record. This opera is my favorite opera, I can not really be rid of. Also Ukrainian of barytone-bass and the sound is very good Anatoly Kocherga's reviews

Merci JF52opera ! C'est un joyaux...

Interesting. I came here as the result of a comment I made about the YT Semkow/Talvela audio recording of "Boris," in which the person suggested I should try "Khovantschina," so this is where I ended up. The staging and costumes were a little weird (not my style, really; I'm a real reactionary with regard those things), but the singing was magnificent - truly. I love the bass voices - and Ghiaurov was 60 when this was presented. First-rate singing and acting by the cast. Many, many thanks to JF52 for posting this.

Wunderschön!

Thank you for this performance with the useful subtitles.

Excellent OPERA.BRILANT GHIAUROV AND PAATA BURCHULADZE

Amikor Bécsben bemutatták ezt a rendezést, akkor hallottam róla. Szerettem volna megnézni, hallani. Most legalább így megtörténhetett. - Köszönöm.

Wonderfuuulllllll, so mooving

New Stanislavsky Theater production of Khovanshchina is amazing. Especially the new final. Mind blowing. It's in Moscow, if you have a chance - have a look.

Thanks for this.

Каст - офигенный, костюмы - ЛСД)

Love the set!

C est tellement beau ça m' fait chialer !!!

Where did this beautiful music come from ? From the bottom of his heart ?

excellents basse & baryton

que maravilla, y pensar que Mussorgsky no vivió para el estreno de esta obra inmortal.

🎉🎉

Спасибо.

De loin son meilleur!!!

I've never seen (or heard) the Stravinsky ending before and found it both beautiful and fascinating. Ends the opera on an entirely different and incredibly peaceful note that gives it a whole new dimension. It may not be completely faithful to Mussorgsky, but I really liked it.

Эксклюзивный набор исполнителей! Интересно послушать!

merci

Артисты конечно.... от бога... как теперь это развидеть?!

SUPERBE MUSIQUE

The orchestra, choir, cast are just delightful. The staging and the costumes are not on a par with musical qualities.

Time: The year 1682 Place: Moscow In some performances and recordings of the opera some segments are deleted, depending on the interpretation of the original notes, which are described in [brackets]. Act 1 In the morning in the Red Square, a member of the Streltsy (named Kuzka) sings his drunkenness off while two other Streltsy talk about their rowdy activities the night before. A scribe arrives; they all pick on him and then leave. Shaklovity, a Boyar and agent for the regent and the Tsars, enters and dictates a letter to the court, warning of a rebellion planned by Prince Ivan Khovansky (captain of the Streltsy Guards) and the Old Believers. After finishing the letter he warns the scribe not to repeat what he heard. The scribe, terrified by the prospect of being involved in a political intrigue, signs the letter with a false name. [The crowd enters and they force the scribe to read a new proclamation that has been published in the public square, which describes the atrocities committed by the Streltsy.] The crowd laments the state of Russia. Prince Ivan Khovansky enters promising an adoring crowd that he will defend the "young Tsars" (Ivan V and Peter I). He and the crowd exit. Prince Andrey, Khovansky's son, chases in Emma, a German girl, intending to assault her. Marfa, an Old Believer and Andrey's former fiancée, interferes. Andrey threatens to kill Marfa, but Prince Ivan returns and decides to capture Emma himself. The ensuing quarrel between father and son is interrupted by the arrival of Dosifey, the leader of the Old Believers. Dosifey berates everyone for being so quarrelsome and un-Christian, and asks them all to join the Old Believers in reuniting Russia. Prince Ivan Khovansky leaves with Prince Andrey Khovansky. Marfa leaves with Emma. Dosifey, left alone, prays for the future of Russia. Act 2 Summer study of Prince Vasily Golitsin Golitsin, a nervous progressive nobleman, reads letters from his lover [and his mother, who warns him to keep himself pure]. [A German Lutheran pastor enters to complain of the murder of one of the scribes in his community by the Streltsy and Prince Andrey Khovansky's pursuit of Emma. Prince Golitsin tries to appease the pastor and offers some form of political advantage that the pastor promises to collect later, although Golitsin flatly refuses to let him build another church; then the Prince wonders about the true motives behind the pastor's actions]. The Prince hires Marfa to tell his fortune in secret. She predicts that he will fall from power and face exile; he dismisses her and orders his servant to kill her. Once alone he ponders on all the acts that he has made to advance Russia, but is interrupted when Prince Ivan Khovansky enters without being announced. (Ivan is ironically disrespecting Golitsin, who himself reformed the tradition of announcing noble visitors.) Prince Khovansky complains that Golitsin has been interfering with his friends in the nobility and diminishing the privileges of nobility, and states that only Tartars believe that all men are equal, and questions whether Russia shall become "tartarized". A quarrel ensues, [each making insulting remarks about the other's military campaigns,] but Dosifey enters and draws their attention away from their argument by criticising both of them: Golitsin for his modern views, and Prince Ivan for letting the Streltsy get drunk and run around making trouble all the time. [In the discussion with Dosifey it turns out that he was once Prince Myshetsky who renounced all worldly matters, to which Prince Ivan Khovansky says that a Prince must die a Prince.] Marfa comes back, there has been an attempt on her life but she was saved by the Petrovskiy (the Tsar's personal army). After her enters Shaklovity, who menacingly announces that the Tsar has been warned of the planned rebellion and has issued orders to arrest the Princes Khovansky. Without resolving the drama, the act ends. Act 3 As Old Believers chant a hymn for the future of Russia, Marfa sings of her lost love for Prince Andrey Khovansky. [Susanna, a fellow Old Believer, scolds Marfa until Dosifey appears and drives Susanna away.] Marfa admits to Dosifey that she still loves Prince Andrey Khovansky. Dosifey tells her to pray for relief. They exit and Shaklovity, who until now had been presented as a purely threatening character, sings a haunting prayer for troubled Russia's protection from the Streltsy (he refers to them as "mercenaries") and from the rebellious powers they obey. Hearing them coming he exits; some of the Streltsy enter and sing a drinking chorus followed by their wives who scold them about their drinking. [The soldiers ask Kuzka to help them with their wives; he ends up organizing an entire celebration with all the Streltsy and their women.] The scribe arrives and informs them that Tsar Peter's troops have initiated an attack on Streltsy-Russian soldiers. The Streltsy call their leader, Prince Ivan Khovansky, who enters and begs their forgiveness for declining to lead them into retaliation; the new Tsar is very powerful, he explains, and their time of power is over. Act 4 Scene 1: A richly furnished chamber in Prince Ivan Khovansky's palace Prince Ivan Khovansky is being entertained by the women in his retinue but they are interrupted by a servant of Golitsin (Varsonofyev) who has come to warn him that he is in danger. Prince Ivan Khovansky ignores the warning and has the messenger flogged. He orders his Persian slaves to dance for him. Shaklovity enters and stabs Khovansky to death. Shaklovity scornfully imitates the servants' song over the Prince's corpse. Scene 2: Moscow. The square before the Cathedral of Vasiliy the Blessed Prince Golitsin is led into exile. Dosifey mourns the conspirators' downfall and the success of Tsar Peter and learns that the Imperial Council has decreed that the Old Believers are next. He discusses with Marfa that an everlasting example must be set by the Old Believers and agree that they shall immolate themselves. Prince Andrey Khovansky enters and confronts Marfa about where she hid Emma, but Marfa tells him that she is safely on her way back to Germany, her father and fiancé. Prince Andrey Khovansky threatens that he will have her burnt as a witch and calls for the Streltsy with his horn but instead a menacing sound is heard. Marfa offers sanctuary to Prince Andrey Khovansky with the Old Believers after she tells him of his father's murder. The Streltsy are led to their execution. Tsar Peter, through an agent, intervenes to pardon them. Act 5 Dosifey and his followers have taken refuge in a hermitage in the forest. Although he is weighed down by the sorrows and sufferings of the brethren, he remains defiant and determined to win a "crown of glory" in fire and flame ("Here, in this holy place"). He exhorts the brethren to don white clothing and light candles, preparing for immolation. They enter the hermitage. Prince Andrey Khovansky enters, singing of his lost love, still seeking Emma. Marfa sings to him, reminding him of their own love, and assuring him that she will not leave him. Dosifey and the brethren return, dressed in white and carrying candles. They build a funeral pyre. Offstage trumpet calls herald the approach of Tsar Peter's soldiers. Marfa sings to Andrey of the hopelessness of their situation. The trumpet calls sound again. Dosifey exhorts the brethren to remain strong one last time. Marfa lights the pyre. The schismatics sing a final hymn ("God will save me"). As Dosifey, Marfa, Prince Andrey Khovansky, and the Old Believers perish in the flames, [Tsar Peter's Preobrazhensky soldiers arrive in a vain attempt to capture them.] Mussorgsky's original vocal score remained unfinished. The final portion of the libretto must be reconstructed from Mussorgsky's themes. The Rimsky-Korsakov edition (1883) adds to the final hymn figures representing flames, trumpet fanfares, and a final reprise of the "March of the Preobrazhensky Regiment" that concludes act 4. The Stravinsky version of the finale (1913) follows Mussorgsky's notes more closely regarding the key of the chant (A-flat minor) and that the ending must fade away. The Shostakovich version attempts to provide a musical conclusion of the opera by bringing back the theme of the sunrise from the Prelude to the opera.

2:09:17 is my favourite part

Marfa - 32:05; 50:34; 1:09:00; 1:14:35; 2:14:27; 2:35:52 Szép előadás. Köszönöm. Azt hiszem, ennek az operának Marfa a főszereplője. Ezt nem hagyhatja figyelmen kívül egyetlen előadás sem. Hasonlóan, egy-egy előadás csak úgy lehet mai, ha követhetően megtartja cselekménye történetiségét is. - Akinek tetszett, akit "megfogott" a bécsi előadás, kérem nézze-hallgassa meg a közelmúltban feltöltött pétervári előadást.

March of the Poteshniye (Soldiers) (Orchestra) @ 2'09"

Yeah this rules

и все конечно в темных тонах!

Great！This prelude is excellent and vigorous.This rendition is fabulous good and a brilliant performance .From where are you watching this video ？ Are you who listen to this music a person of what country ？ please tell me it . I am a Japanese contributor .

Did anyone else have a problem with the video at 1:22 it starts and stops and I get "loading" on the screen. I'm so disappointed. I was totally engrossed. I don't think I'll get it going again.

1:05 Beginning.

Where are the subtitles?!

Where are the English subtitles?

LOL I'm russian and I can't understand what are they saying )

capolavoro M molto ha amato Verdi

Outstanding spellbinding ARIA at 1:30. Can anyone identify it? Thanks from San Agustinillo !

1:03

Funny trip at 24.51

6:31 / 9:28 / 11:41 / 16:54 / 18:55 / 21:18 26:12 / 27:09 30:13 / 32:10 (32:55) 36:20 / 37:03 / 39:13 / 42:12

PORRA SEMPRE OUÇO TUAS ÓPERAS POIS SÃO LEGENDADAS EM ESPANHOL;E,CADE AS LEGENDAS DESSA =12=12=2019=

1:30:27

Why are Peter's troops wearing Kendo outfits?

1:46:45 и далее

OI,CADE MEU ESPANHOL NAS LEGENDAS PUXA SOU ASSINANTE POR CAUSA DAS LEGENDAS EM ESPANHOL =31=05=2020=

Josef Stalin was right to favorite this opera!

A bit earlier than 2:36:12, according to the captions, the libretto reads: "My love is my sin." But love is never a sin.

1:43:50

love this opera, but staging could be a lot better. i like it a bit more modern.

Khovanshchina, about Moscow uprising of 1682, proves that nobody has been able to describe with music like Mussorgsky, that the Russian language is already a sort of music, that there is not other patriotism like the Russian, that dividing by sects is an old vice of Christian religions and... that Boris Godunov is a much better opera, sorry Modest.

зачем Верещягина воткнули!!? вначале. не к селу ни к городу!

March starts 2'09"15

sickest song ever

Terrible

Very difficult to listen to the words. Its not Russian, but sounds like😂

Постановка во всех отношениях превосходная, только танец персидок поставлен как-то странно и не понятно, к чему эти черепа. Аббадо гениально дирижирует спектаклем. Аудиозапись Аббадо лучше, чем эта видеозапись тем, что там Марфу поет великая югославская певица Марьяна Липовшек.

на час 40 выходят настоящие представители а ля руссь

La superficialità della direzione è imbarazzante!

un chef des vieux croyants sans barbe, avec une capuche à la moine d'occident?J y crois pas.

ну Персидские рабыни да уж, вот это честно и в точку... вот это да засмотрелся аж... умеют же ставить все таки хехе ))... глава раскольников ну не может быть грузином или как бы загримировали его хоть )), он да креститься двумя пальцами я сначала не вдуплил что он старообрядец, но с бородой он должен быть однозначно, но старорусской традицией, кто староверы с бородами и длинными волосами, если претендуешь на такой тип личности, морденью в старообрядца он вообще никак не попадает... вообще постановка = на строгое 3... музыка на строгое 4 включая выбранную тему и надуманный драматизм внутрикремлевских разборок

Кто от Хованского, лукас :)

и во что они одеты!???? извращен

меня вообще жутко вымораживает образ балалайки тем более за спиной такой прям русский типаж, бред сивой кобылы, русский народный инструмент епт вашу мать... я не видел ни одного русского типа играющего на балалайке нарочным образом, если он там не академический музыкант балалаечник вбивший себе в голову чтото...

Thumbs down for the costumes and staging.

вот видно западная постановка - у нас помимо что ваще русские мы язычники, никто не падает на колени не лежит тем более, у нас не принято это в нашей культуре, у нас даже не сидят в храмах кто православные да стоят если только не инвалид а так русская традиция вообще богам не поклоняться, русский он Бог и есть )) вот видно тут массовки играют типы с Запада, они играют даже выражением лица неумело, у нас на Руси такие лица тем более Старообрядцы не делают... ну я посмотрел постановка сценическая немцев, пардон вы ничего не поняли в опере и как сыграть те или иные образы... слабая крайне постановка, опера уву таковая хорошая но неско надуманная... за сим прощаюсь с интересом отсмотрел эти три часа - кому не нравится мой русский язык как говорил БГ купите себе на него Копирайт ))

Костюмы и декорации уродливы до невозможности! Никакого русского духа здесь нет: костюмы напоминают татарские или среднеазиатские "тимуровские" кольчуги, а декорации - артхаусную постановку!

я пробовал что-то длинное размытое написать, стер, напишу длинно но по другому.. )) театрализованно и пост-модерново это все, слушать интересно, но я не сказал бы как русский тип что я ощущаю это все таким уж своим, мне Волшебная Флейта ближе которая Моцарта, она гораздо более русская, с иронией такой скоморошеством местами )) русская культура довольно странная штука так Мусоргский был Авангардистом по своему времени, такая бытийная постановка на довольно мутный сюжет хрен поймешь что там было, грубо говоря кто там прав кто неправ и в чем завязка... борьба за власть что ли терки какието вечные... ну и ?... уж правда все это как-то слишком сурьезно... принцы бояре какие-то... мне как русскому человеку что в те года что сейчас както поднасрать на их проблемы чо у них там в Кремлях творится ))... но повторюсь слушать интересно... ну и Кузька када с балалйкой ваще так не танцуют, совершенно неаутентично, может быть полный обвал но не такие танцы )), сцена вся с стрельцами и женами сделана никак просто, забавно опять таки но неаутентично ))... и вообще мне часто кажется ктото часто путает еврейские клезмеры с русской народной музыкой, она вообще не такая, надо не забывать что Мусоргский дворянин военный, он вообще не в курсе на самом русской национальной культуры, все дворяне русские говорили по французски и немецки ктото по английски... у них представление на уровне во поле березка стояла как у Чайковского или тут эти танцы шманцы - где он такой мотивчик услышал хрен знает)) мне поэтому очень иногда странно слышать что это прям так уж идентифицируется с русской культурой - это надуманные штампы... я русский человек так не танцую не двигаюсь такие выражения не использую... такие муз.интонации тоже (кое что у Мусоргского круто, как у любого композитора любой нации - хэви-металичен он местами)) )

Очень слабая постановка .. Арии не поются, так как написано по партитуре...

A truely boring opera ... can you whistle ONE tune from it? Highly likely not. From "The Marriage of Figaro"? Yes.

1:04:30

1:58:56