This is indeed a treat for lovers of this incredible opera – I could simply echo the lavish praise poured on this performance by David Reynolds and our beloved Andy, which (apart from a rather squally Xenia) I do, in spades!However, it’s interesting to read this listing on the Boosey & Hawkes website:https://www.boosey.com/cr/music/Modest-Moussorgsky-Boris-Godunov/46908You will note that the Shostakovich version was premiered on 4 November 1959 [English dating]. As this broadcast was only a year after the premiere of the new edition, conducted by Yeltsin (and further research names Shtokolov as the Boris), I think we can confidently assume that many or most of the rest of the cast was the same. Thus, this is a really historically-important Boris as well as being an absolutely superb one!My own opinion of the Shostakovich orchestration is that it is fascinating, with much thoughtful and occasionally-ironic underpinning of the original; space (and Andy’s “mean” word-limit!) does not allow me to go into detail here. I carp only at DS’s sometimes overdone, “glitzy Hollywood” style at some peak moments, such as the end of the Coronation scene, Kazan song, Marina/Dmitri duet and some of the “revolution” music. However, thinking about it, might that not have been Shostakovich’s very point? Look to his symphonies and string quartets to reveal a master of irony!A wonderful performance on many levels – just don’t miss it!!

I've often commented on Sleepers in Opera Depot's catalogue, recordings that most people will pass over, but are not to be missed. This Boris Godunov belongs in that category. All of the singers have beautiful, steady, characterful voices. They all know their parts well and bring them to life. I have never heard of any of these singers, yet they are all terrific. Singing his namesake, Boris Shtokolov has a rich, beautiful bass-baritone with a ringing top that he uses with utmost expressiveness. He makes the most of the drama without spilling over into melodrama. His death scene is heartbreaking, the farewell to his son sung with beautiful legato. Mikhail Chernozhukov likewise sings a ravishing Pimen, his tone absolutely steady. Rima Barinova is a sexy Marina, always singing with rich, seductive tone. Her Dimitri, Vsevolod Puchkov, has a heroic, appealing voice that makes one look forward to his scenes rather than dread them.I could go on, but I'd be redundant. Sergei Yeltsin leads a performance that fascinates as much as it pleases. He makes no cuts, very unusual for 1960. The Shostakovich orchestration is very colorful. The opera ends with the Kromy Forest scene that includes the subtle, touching Simpleton of Ivan Bugiav. The Pirate Gods smiled happily on this performance and the sound is excellent broadcast mono throughout with no glitches that I heard.Boris Godunov fanciers must get this set. You won't be sorry!

interesting

Longer version than accustomed to hearing on most recordings.