The Many Faces of Boris Gudenov

The opera and the character have many interpretations

No opera has been more messed about with than Boris," writes Sir Denis Forman in his amusing compendium A Night at the Opera. When Modest Mussorgsky first wrote Boris Gudenov in 1869, it was necessary to obtain official approval before it could be staged. The opera was turned down the first time, but accepted in 1872 after he had inserted two new scenes, including a big part for a woman (which shows, perhaps, how little times have changed).
"We're doing a hybrid, which is what most people do nowadays," explains the Canadian Opera Company's Boris, bass-baritone Gidon Saks. "He [Mussorgsky] had to suffer the greatest indignity of all, which is that after his death Rimsky-Korsakov said he'd orchestrated it badly and he rewrote it." Actually, Rimsky-Korsakov produced two complete versions; Shostakovich contributed another, and at least two more were added before producers took a second look at the original.
"Only in the late '60s did it become acceptable to perform the Mussorgsky original," says Saks. "We do a basically original version," he says, adding that one of the two 1872 scenes, the 'Polish Act,' has been dropped, but "We are doing the 'Kromy Forest' scene."
Saks, whose international career began here in Toronto with the Canadian Opera Company Ensemble, is approaching the role for the third time. He has sung Boris in London (in English) and in Dublin (in Russian). At one time it was difficult to find a cast that was capable of performing in Russian. However, "Since the wall came down," he says, "to find people doing a Russian opera with a non-Russian cast is relatively rare." Although Saks is not himself Russian, he is pleased to be singing the role in the original language once more.
Gudenov was a historical character who came to rule Russia partly by murdering a child heir to the throne. The focus of the opera is mainly on the guilty conscience of a man in power. After two previous experiences with the role, Saks has come to know the character well, but says it would be possible to perform the part in many different ways. "I find it fascinating, especially with this piece, to find out how much could have been true," says Saks. "Boris had ruled for many years, and was known as the 'Royal Brother-In-Law,' which I think is a great title. He was quite a modern ruler," he continues.
Ultimately, Saks sees Gudenov as a sympathetic character. "I love him," he says, "because he loves his children in a way that is contemporary. The way he behaves with his children shows that he is a man with integrity and conscience who has made one horrible - though expedient - mistake."
The Canadian Opera Company production of Mussorgsky's Boris Gudenov runs in repertoire with Handel's Julius Caesar between April 5 and 21 at the Hummingbird Centre. For tickets, call 416-872-2262 or go online at www.coc.ca.

Publication Date: 2002-03-31
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