Editing Boris Godunov (opera) (section)

===Composition history===
''Note: Dates provided in this article for events taking place in Russia before 1918 are [[Old Style]].''

{{Gallery
|title=
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|File:Karamzin by Tropinin (1818, Tretyakov gallery).jpg|{{center|[[Nikolay Karamzin]]<br />(1766–1826)}}
|File:Kiprensky Pushkin.jpg|{{center|[[Alexander Pushkin]]<br />(1799–1837)}}
|File:Vladimir Vasilyevich Stasov 1873-1875.jpg|{{center|[[Vladimir Stasov]]<br />(1824–1906)}}
|File:Vladimir Nikolsky.jpg|{{center|[[Vladimir Nikolsky]]<br />(1836–1883)}}
}}
By the close of 1868, Mussorgsky had already started and abandoned two important opera projects—the antique, exotic, romantic tragedy ''[[Salammbô (Mussorgsky)|Salammbô]]'', written under the influence of [[Alexander Serov|Aleksandr Serov]]'s ''[[Judith (Serov)|Judith]]'', and the contemporary, Russian, anti-romantic farce ''[[Zhenitba|Marriage]]'', influenced by [[Alexander Dargomyzhsky|Aleksandr Dargomïzhsky]]'s ''[[The Stone Guest (Dargomyzhsky)|The Stone Guest]]''. Mussorgsky's next project would be a very original and successful synthesis of the opposing styles of these two experiments—the romantic-lyrical style of ''Salammbô'', and the realistic style of ''Marriage''.<ref>Calvocoressi, Abraham (1974: p. 106)</ref>

In the autumn of 1868, Vladimir Nikolsky, a professor of [[History of Russia|Russian history]] and [[Russian language|language]], and an authority on Pushkin, suggested to Mussorgsky the idea of composing an opera on the subject of Pushkin's [[drama|"dramatic chronicle"]] ''[[Boris Godunov (play)|Boris Godunov]]''.<ref>Calvocoressi (1959: p. 137)</ref> ''Boris'' the play, modelled on [[William Shakespeare|Shakespeare's]] [[Shakespearean history|histories]],<ref>Lloyd-Jones (1975: p. 13)</ref> was written in 1825 and published in 1831, but was not approved for performance by the state censors until 1866, almost 30 years after the author's death. Production was permitted on condition that certain scenes were cut.<ref name="Oldani 1982: p.8">Oldani (1982: p. 8)</ref><ref name="Calvocoressi, Abraham 1974: p.37">Calvocoressi, Abraham (1974: p. 37)</ref> Although enthusiasm for the work was high, Mussorgsky faced a seemingly insurmountable obstacle to his plans in that an Imperial [[ukaz]] of 1837 forbade the portrayal in opera of Russian Tsars (amended in 1872 to include only [[Romanov dynasty|Romanov]] Tsars).<ref>Lloyd-Jones (1975: pp. 13, 16)</ref>

[[File:Modest Musorgskiy, 1870.jpg|thumb|upright|Mussorgsky in 1870]]
'''Original Version'''

When [[Lyudmila Shestakova]], the sister of [[Mikhail Glinka]], learned of Mussorgsky's plans, she presented him with a volume of Pushkin's dramatic works, interleaved with blank pages and bound, and using this, Mussorgsky began work in October 1868 preparing his own libretto.<ref name="Lloyd-Jones 1975: p. 14">Lloyd-Jones (1975: p. 14)</ref> [[s:Boris Godunov|Pushkin's drama]] consists of 25 scenes, written predominantly in [[blank verse]]. Mussorgsky adapted the most theatrically effective scenes, mainly those featuring the title character, along with a few other key scenes (Novodevichy, Cell, Inn), often preserving Pushkin's verses.<ref>Taruskin (1993: pp. 220, 222–223)</ref>

Mussorgsky worked rapidly, composing first the [[vocal score]] in about nine months (finished 18 July 1869), and completed the full score five months later (15 December 1869), at the same time working as a civil servant.<ref name="Lloyd-Jones 1975: p. 14" /><ref name="Oldani 2002: p. 545">Oldani (2002: p. 545)</ref> In 1870, he submitted the libretto to the state censor for examination, and the score to the literary and music committees of the Imperial Theatres.<ref>Oldani (1982: p. 9)</ref> However, the opera was rejected (10 February 1871) by a vote of 6 to 1, ostensibly for its lack of an important female role.<ref name="Taruskin 1993: pp. 250–251">Taruskin (1993: pp. 250–251)</ref> Lyudmila Shestakova recalled the reply made by conductor [[Eduard Nápravník]] and stage manager [[Gennadiy Kondratyev]] of the [[Mariinsky Theatre]] in response to her question of whether ''Boris'' had been accepted for production:<ref name="Taruskin 1993: p. 251">Taruskin (1993: p. 251)</ref>

{{blockquote|"'No,' they answered me, 'it's impossible. How can there be an opera without the feminine element?! Mussorgsky has great talent beyond doubt. Let him add one more scene. Then ''Boris'' will be produced!'"<ref name="Taruskin 1993: p. 251"/>|Lyudmila Shestakova, in ''My Evenings'', her recollections of Mussorgsky and [[The Mighty Handful]], 1889}}

Other questionable accounts, such as Rimsky-Korsakov's, allege that there were additional reasons for rejection, such as the work's novelty:<ref name="Taruskin 1993: p. 251"/>

{{blockquote|"...Mussorgsky submitted his completed ''Boris Godunov'' to the Board of Directors of the Imperial Theatres ... The freshness and originality of the music nonplussed the honorable members of the committee, who reproved the composer, among other things, for the absence of a reasonably important female role."<ref>Rimsky-Korsakov (1923: pp. 109–110)</ref>|Nikolay Rimsky-Korsakov, ''Chronicle of My Musical Life'', 1909}}

{{blockquote|"All his closest friends, including myself, although moved to enthusiasm by the superb dramatic power and genuinely national character of the work, had constantly been pointing out to him that it lacked many essentials; and that despite the beauties with which it teemed, it might be found unsatisfactory in certain respects. For a long time he stood up (as every genuine artist is wont to do) for his creation, the fruit of his inspiration and meditations. He yielded only after ''Boris'' had been rejected, the management finding that it contained too many choruses and ensembles, whereas individual characters had too little to do. This rejection proved very beneficial to ''Boris''."<ref>Calvocoressi (1956: p. 156)</ref>|Vladimir Stasov}}
Meanwhile, Pushkin's drama (18 of the published 24 scenes, condensed into 16) finally received its first performance in 1870 at the [[Mariinsky Theatre]], three years in advance of the premiere of the opera in the same venue, using the same scene designs by [[Matvey Shishkov]] that would be recycled in the opera.<ref name="Oldani 1982: p.8" /><ref name="Calvocoressi, Abraham 1974: p.37" />

[[File:Eduard Napravnik 2.jpg|thumb|upright|[[Eduard Nápravník]] conducted the premiere of ''Boris Godunov'' (1874).<ref>Calvocoressi, Abraham (1974: p. 46)</ref> The Czech Nápravník would spend more than 40 years in the service of Russian music as chief conductor of the Imperial Mariinsky Theatre.<ref name="Oldani 1982: p. 7">Oldani (1982: p. 7)</ref> In Rimsky-Korsakov's memoirs, ''Chronicle of My Musical Life'', the composer praises his keen ear, his ability to detect errors, and his overall technique, but faults him for his rapid tempi, his interpretational inflexibility and insensitivity, and, most of all, for his habit of making sweeping cuts.<ref>Rimsky-Korsakov (1923: pp. 221, 254, 327–328)</ref>]]

'''Revised Version'''

In 1871, Mussorgsky began recasting and expanding the opera with enthusiasm, ultimately going beyond the requirements of the directorate of the Imperial Theatres, which called simply for the addition of a female role and a scene to contain it.<ref name="Taruskin 1993: pp. 250–251" /> He added three scenes (the two Sandomierz scenes and the Kromï Scene), cut one (The Cathedral of Vasiliy the Blessed), and recomposed another (the Terem Scene). The modifications resulted in the addition of an important [[prima donna]] role (Marina Mniszech), the expansion of existing female roles (additional songs for the Hostess, Fyodor, and the Nurse), and the expansion of the first tenor role (the Pretender). Mussorgsky augmented his adaptation of Pushkin's drama with his own lyrics, assisted by a study of the monumental ''History of the Russian State'' by Karamzin, to whom Pushkin's drama is dedicated.
The Revised Version was finished in 1872 (vocal score, 14 December 1871; full score 23 June 1872),<ref name="Oldani 2002: p. 545" /> and submitted to the Imperial Theatres in the autumn.

Most Mussorgsky biographers claim that the directorate of the Imperial Theatres also rejected the revised version of ''Boris Godunov'', even providing a date: 6 May 1872 (Calvocoressi),<ref>Calvocoressi (1956: p. 169)</ref> or 29 October 1872 (Lloyd-Jones).<ref>Lloyd-Jones (1975: p. 17)</ref> Recent researchers point out that there is insufficient evidence to support this claim, emphasizing that in his revision Mussorgsky had rectified the only objection the directorate is known to have made.<ref>Oldani (1982: p. 10)</ref>

In any case, Mussorgsky's friends took matters into their own hands, arranging the performance of three scenes (the Inn and both Sandomierz scenes) at the Mariinsky Theatre on 5 February 1873, as a benefit for stage manager Gennadiy Kondratyev.<ref name="Oldani 2002: p. 545" /> [[César Cui]]'s review noted the audience's enthusiasm:

{{blockquote|"The success was enormous and complete; never, within my memory, had such ovations been given to a composer at the Mariinsky."<ref name="Calvocoressi, Abraham p. 42">Calvocoressi, Abraham (1974: p. 42)</ref>|César Cui, ''[[Sankt-Peterburgskie Vedomosti]]'', 1873}}

The success of this performance led [[V. Bessel and Co.]] to announce the publication of the piano vocal score of Mussorgsky's opera, issued in January 1874.<ref name="Oldani 2002: p. 545" />

'''Premiere'''

The triumphant 1873 performance of three scenes paved the way for the first performance of the opera, which was accepted for production on 22 October 1873.<ref>Calvocoressi (1956: p. 135)</ref> The premiere took place on 27 January 1874, as a benefit for prima donna [[Yuliya Platonova]].<ref name="Oldani 2002: p. 545" /> The performance was a great success with the public. The Mariinsky Theatre was sold out; Mussorgsky had to take some 20 curtain calls; students sang choruses from the opera in the street. This time, however, the critical reaction was exceedingly hostile<ref>Calvocoressi, Abraham (1974: pp. 48–51)</ref> [see [[Boris Godunov (opera)#Critical reception|Critical Reception]] in this article for details].

Initial performances of ''Boris Godunov'' featured significant cuts. The entire Cell Scene was cut from the first performance, not, as is often supposed, due to censorship, but because Nápravník wished to avoid a lengthy performance, and frequently cut episodes he felt were ineffective.<ref name="Oldani 1982: p. 11">Oldani (1982: p. 11)</ref> Later performances tended to be even more heavily cut, including the additional removal of the Kromï scene, likely for political reasons (starting 20 October 1876, the 13th performance).<ref>Orlova (1991: p. 158)</ref> After protracted difficulties in obtaining the production of his opera, Mussorgsky was compliant with Nápravník's demands, and even defended these mutilations to his own supporters.

{{blockquote|"Presently cuts were made in the opera, the splendid scene 'Near Kromï' was omitted. Some two years later, the Lord knows why, productions of the opera ceased altogether, although it had enjoyed uninterrupted success, and the performances under [[Osip Petrov|Petrov]] and, after his death, by [[Fyodor Stravinsky|F. I. Stravinsky]], Platonova, and [[Fyodor Petrovich Komissarzhevsky|Komissarzhevsky]] had been excellent. There were rumors afloat that the opera had displeased the Imperial family; there was gossip that its subject was unpleasant to the censors; the result was that the opera was stricken from the repertory."<ref>Rimsky-Korsakov (1923: pp. 145–146)</ref>|Nikolay Rimsky-Korsakov, ''Chronicle of My Musical Life''}}

''Boris Godunov'' was performed 21 times during the composer's lifetime, and 5 times after his death (in 1881) before being withdrawn from the repertory on 8 November 1882. When Mussorgsky's subsequent opera ''[[Khovanshchina]]'' was rejected for production in 1883, the Imperial Opera Committee reputedly said: "One radical opera by Mussorgsky is enough."<ref>Emerson (1988: p. 236)</ref> ''Boris Godunov'' did not return to the stage of the Mariinsky Theatre until 9 November 1904, when the Rimsky-Korsakov edition was presented under conductor [[Felix Blumenfeld|Feliks Blumenfeld]] with bass [[Feodor Chaliapin]] in the title role.