Although not a true basso profundo, Hans Hotter makes the title character his own, imbuing him with a sense of stoic suffering punctuated by belligerent outbursts. His scenes with Fyodor are especially moving. The mezzo role of Marina makes relatively modest demands on Martha Mödl’s declining vocal resources, allowing her to bring the same enigmatic quality she once gave to Kundry. Hans Hopf is a brash and forceful Dmitri. Eugen Jochum does a brilliant job drawing out the many orchestral details in Rimsky-Korsakov’s colorful arrangement.