Boris Godunov characters. Boris Godunov Opera in four acts with Prologue

History of creation . Opera in 4 acts with a prologue, libretto by the composer based on the works of A. Pushkin and N. Karamzin.Mussorgsky's attention to the tragedy "" was drawn by the outstanding philologist and literary critic Nikolsky, whom the composer met at Glinka's house. Nikolsky expressed the idea that this tragedy could be a wonderful material for an opera libretto, which made the then young think. The composer felt that an opera created on the basis of this work could become a surprisingly multifaceted work. By the end of 1869, the score was completed. And at the beginning of 1870, Mussorgsky received by mail an envelope with the stamp of the director of the Imperial Theaters, Gedeonov. The letter stated that the opera had been rejected by a committee of seven members. Then Modest Petrovich took up editing the opera, a new edition was created within a year, now instead of seven scenes there are only four and a prologue, a new scene of the rebellion near Kromy and two new Polish paintings with the participation of Marina Mnishek appeared. The author excluded the scene at St. Basil's Cathedral and transferred the lamentation of the Holy Fool to the finale of the opera. Some changes were made even after the premiere when writing the Maid of Pskov.

Mussorgsky dedicated his work to his comrades in the Mighty Handful, who ardently supported him. The second score would also have been rejected if not for the help of the prima donna Platonova, who used her influence to establish the opera in the theater repertoire.

The long-awaited day of the premiere " Boris Godunov”turned for the author of the opera into a genuine hour of celebration and triumph. The news of the new work quickly spread throughout the city, predicting the success of all future performances. Of decisive importance in the future success of the opera was participation in the title role. After he played the role of Godunov, the opera began to be staged even in peripheral theaters, gradually it became one of the most repertory operas, conquering all stages of the world.

In "Boris Godunov" Mussorgsky showed himself to be a brilliant playwright, not just resurrecting the images of the past, but showing the tragedy of conscience and the conflict between the tsar and the people, the author strengthened the role of the latter and gave the people the main role in his work. In terms of the depth of psychological analysis, the composer in his work is not inferior to either Tolstoy or Dostoevsky. The disclosure of such a power of the tragedy of the individual and the people at that time in the world of opera was not yet.

The plot of the opera . In the courtyard of the Novodevichy Convent, the bailiff forces the assembled people to beg the boyar Boris Godunov for ascension to the throne. Boris is trying to give up the royal crown. The next morning, in front of the Assumption Cathedral, the obedient people again gather - now they are already thanking Boris, who agrees to be married to the kingdom. But the newly-made king is tormented by doubts and heavy thoughts, his royal crown does not please him.

The cell of the Chudov Monastery, Pimen, a hermit chronicler, writes the truth about the murder of Boris the Tsar, the legitimate heir, Tsarevich Dmitry. The young monk Grigory Otrepiev, interested in history, conceives a daring act - to call himself Dmitry and meet the tsar.

A tavern on the Lithuanian border - Otrepiev, under the guise of wandering elders, pretends to be Varlaam, but the deception is discovered and he has to flee.

Meanwhile, in the Kremlin, Tsar Boris has to comfort his young daughter Xenia. She mourns for the deceased groom, but does not dare to show her sadness in front of her royal parent. Yes, and for Boris himself, life does not seem sweet - the memories of the crime committed torment him, and the people are in no hurry to fall in love with the new autocrat. Prince Shuisky enters with news of the appearance of a certain impostor under the name of Dmitry at the Lithuanian court. Boris begins to see the ghost of a murdered baby and he cannot even interrogate Shuisky about the details in full.

Polish Court, Sandomierz Castle. Ambitious Marina Mnishek dreams of the Russian throne, which she intended to ascend by marrying Dmitry the impostor. With cunning and affection, she captivates the false Dmitry and inflames his love.

Meanwhile, on the square in front of St. Basil's Cathedral, the people are waiting for the approach of Dmitry the pretender. People believe him and want the impostor to save them from the arbitrariness of Godunov. During the royal procession, the holy fool publicly accuses the tsar of killing the baby, however, Boris, overcome by grave forebodings, does not give instructions to execute him.

The Boyar Duma at the Pomegranate Chamber, Shuisky gossips about the sufferings and throwings of Boris the Tsar. A distraught Boris appears, accompanied by the ghost of a murdered baby. The chronicler Pimen speaks with a story about the miraculous healing of a blind man over the grave of Tsarevich Dmitry. And this story plunges Boris into final madness, he barely has time to say goodbye to his son Fyodor before his death, as he falls unconscious, and then dies.

Near the village of Kromy, on the edge of the forest, the people, fueled by the peasant uprising, mock the governor. Elder Varlaam and Misail incite the people to even greater cruelty. False Dmitry appears, accompanied by a procession, and the people joyfully greet him. The final song of the Holy Fool sounds, predicting new misfortunes and misfortunes for the Russian people: "Woe, woe to Rus', cry, Russian people, hungry people."

Interesting Facts

• In 1898 the opera was staged under the editorship with Chaliapin in the title role. And since then, the great artist has not parted with the role of Godunov all his life.
• In the work on the part of Boris Chaliapin was helped from the musical side and Klyuchevsky from the historical side.
• There is also a third version of the opera - which re-instrumented the opera, but kept intact all the harmonies of Mussorgsky
• Based on this brilliant work of Mussorgsky directed by Vera Stroeva in 1954. a feature film was staged that conveys the spirit of opera to the maximum extent possible

Act I
Painting 1
People were driven to the environs of the Novodevichy Convent to pray on their knees for Boris Godunov to be married to the kingdom. The whips of the bailiff and the guards "inspire" the people to "do not spare a sip." Duma clerk Andrey Shchelkalov appeals to God for the sending down of "mournful Rus' of consolation." The night is coming to an end. From afar comes the singing of kalik passers-by. "God's people" are heading to the monastery, distributing amulets to the people. And they stand up for the election of Boris.

Picture 2
Meeting of the Boyar Duma. The fate of the Pretender is decided. The slow-witted boyars regret that without Shuisky "an opinion did not come out well." And here is Prince Vasily. His story about Boris's seizure arouses the distrust of the boyars, but with the exclamation "Chur, child!" the king himself appears in unusual attire. Godunov addresses the boyars. Shuisky interrupts him with a proposal to listen to a humble old man who wants to tell a great secret. Pimen enters. His story about the miracle of insight associated with the name of the murdered prince deprives Boris of his strength. Feeling the approach of death, he calls Tsarevich Theodore to him and instructs his son to rightly rule Russia, honor the saints of God, take care of his sister, and pray to heaven for mercy on his children. The death knell is heard. The monks enter with the schema. Boris is dead.

Opera in four acts with a prologue; libretto by Mussorgsky based on the tragedy of the same name by A. S. Pushkin and "History of the Russian State" by N. M. Karamzin.

Characters:

Boris Godunov (baritone or bass), Fedor and Xenia (mezzo-soprano and soprano), Xenia's mother (mezzo-soprano), Prince Vasily Shuisky (tenor), Andrey Shchelkalov (baritone), Pimen (bass), Pretender under the name of Grigory ( tenor), Marina Mnishek (mezzo-soprano), Rangoni (bass), Varlaam and Misail (bass and tenor), hostess of the tavern (mezzo-soprano), holy fool (tenor), Nikitich, bailiff (bass), middle boyar (tenor) , boyar Khrushchov (tenor), Jesuits Lavitsky (bass) and Chernikovsky (bass), boyars, archers, rynds, bailiffs, pans and panis, Sandomierz girls, passers-by, the people of Moscow.

The action takes place in Moscow in 1598-1605.

Prologue. Picture one. People were driven into the courtyard of the Novodevichy Convent to pray on their knees for Boris Godunov to be married to the kingdom. The bailiff's club "inspires" the people to "do not spare a sip." Duma clerk Andrey Shchelkalov appeals to God for the sending down of "mournful Rus' of consolation." The day is coming to an end. From afar comes the singing of kalik passers-by. "God's people" go to the monastery, handing out amulets to the people. And they stand up for the election of Boris.

Picture two. The people gathered in the Kremlin in front of the Assumption Cathedral praise Boris. And Boris is seized by ominous forebodings. But it's full: no one should notice the king's doubts - there are enemies around. And the tsar orders to convene the people to a feast - "everyone, from the boyars to the beggar blind." Glorification merges with the ringing of bells.

Act one. Picture one. Night. Cell in the Miracle Monastery. An eyewitness to many events, Elder Pimen writes a chronicle. The young monk Gregory is sleeping. The singing of a prayer is heard. Gregory wakes up. He is troubled by sleep, "an obsessive, accursed dream." He asks Pimen to interpret it. The dream of a young monk awakens in Pimen the memories of past years. Grigory is jealous of Pimen's eventful youth. The stories about the kings who changed “their royal staff, and purple, and their luxurious crown for the humble hood of the monks” do not calm the young novice. With bated breath, he listens to the old man, who tells about the murder of Tsarevich Dimitri. A casually dropped remark that Grigory and the prince are the same age gives rise to an ambitious plan in his head.

Picture two. Gregory comes to a tavern on the Lithuanian border, along with two vagabonds, runaway monks Misail and Varlaam - he makes his way to Lithuania. The thought of imposture completely occupies Gregory, and he does not take part in a small feast, which the elders made. Both of them are already very tipsy, Varlaam drags out the song. Meanwhile, Gregory asks the hostess about the road. From a conversation with her, he learns that outposts have been set up: they are looking for someone. But the kind hostess tells Grigory about the "roundabout" path. Suddenly there is a knock. The bailiffs appear easily. In the hope of a profit - the elders collect alms - the bailiff with "addiction" interrogate Varlaam - who are they and where are they from. The decree about the heretic Grishka Otrepiev is retrieved. The bailiff wants to intimidate Varlaam - maybe he is the heretic who fled from Moscow? Gregory is called to read the decree. Having reached the signs of the fugitive, he quickly gets out of the situation, indicating the signs of his companion. The bailiff rushes at Varlaam. Seeing that things are taking a bad turn, the elder demands that he be allowed to read the decree himself. Slowly, word by word, he pronounces the verdict on Gregory, but Gregory is prepared for this - jump out the window, and remember your name ...

Action two. Royal tower. Princess Xenia weeps over the portrait of her dead fiancé. Tsarevich Theodore is busy with the "book of a large drawing." Needlework mother. With jokes, jokes and just a heartfelt word, she tries to distract the princess from bitter thoughts. Tsarevich Theodore answers the mother's fairy tale with a fairy tale. The mother sings to him. They clap their hands, play out a fairy tale. The king gently reassures the princess, asks Theodore about his activities. The view of the Moscow kingdom in the drawing causes a heavy thought in Boris. In everything - both in the disasters of the state, and in the misfortune of his daughter - he sees revenge for the perfect villainy - the murder of Tsarevich Dimitri. Having learned from Shuisky, the cunning courtier, about the appearance of the Pretender in Lithuania, Boris demands from Shuisky confirmation of the death of the prince. Shuisky cunningly paints the details of villainy. Boris cannot stand the torture: in the wavering shadows he sees the ghost of the murdered boy.

Act Three.Picture one. In Sandomierz Castle, Marina is behind the toilet. The girls entertain her with a flattering song. Panna Mnishek is dissatisfied: she wants to hear about the glorious victories of Poland, the ambitious Marina dreams of the throne of the kings of Moscow. The Jesuit Rangoni appears. By the power of the church, he conjures Marina to entangle the Pretender in love nets.

Picture two. On a moonlit night in the garden, by the fountain, the Pretender dreams of Marina. Rangoni sneaks up on him. With sweet speeches about the beauty of Marina, the Jesuit lures the Pretender into confessing his passionate love for the proud panna. A noisy crowd of merry guests passes through the garden - they are looking forward to the victory of the Polish army over Borisov's army. The impostor hides behind the trees. Marina appears. With caresses, whims and ridicule, she kindles the ambition of the Pretender.

act four. Picture one. In front of St. Basil's Cathedral, the people are animatedly discussing rumors about the approach of the army of the Pretender, the service in the church, the anathematization of Grishka Otrepiev and the eternal memory that they sang to Tsarevich Dimitri. The common people are sure that the Pretender is the real Tsarevich Dimitri, and are indignant at the blasphemy - to sing eternal memory to the living! The Holy Fool runs in, followed by a flock of hooting boys. The holy fool sits down on a stone, mends his bast shoes and sings. The boys surround him, take away the kopeck, which he just boasted about. The holy fool is crying. The boyars come out of the cathedral, they distribute alms. The royal procession begins. On their knees, their hands outstretched to the tsar, the hungry, ragged people pray for bread - all the people gathered in the square. Boris, seeing the grieving Yurodivy, stops and asks why he was offended. The holy fool naively and boldly asks the king to slaughter the offenders-boys, as he slaughtered the little prince. Boris stops the guards, who rushed to the holy fool, and asks the blessed one to pray for him. But you can’t pray for King Herod - “The Mother of God does not order. Such is the judgment of the people.

Picture two. In the Faceted Chamber of the Moscow Kremlin, a meeting of the Boyar Duma is taking place. The fate of the Pretender is decided. The slow-witted boyars regret that without Shuisky "the opinion did not come out well." And here is Prince Vasily. His story about Boris's seizure arouses the distrust of the boyars, but with the exclamation "Chur, child!" the king appears. Having come to his senses, Godunov sits down in the royal seat and addresses the boyars. Shuisky interrupts him with a proposal to listen to a humble old man who wants to tell a great secret. This is Pimen. His story about the miracle of insight associated with the name of the murdered prince deprives Boris of his strength. Feeling the approach of death, he calls Tsarevich Theodore to him and gives his son a strict order to rightly rule Russia, honor the saints of God, take care of his sister, and pray to heaven for mercy on his children. A funeral ringing is heard, and a tomb cry is approaching - a schema, "the king goes to the monks." Boris is dying.

Picture three. A forest clearing near Kromy is filled with a crowd of vagabonds. They mock Godunov's governor, the boyar Khrushchev. Right there Varlaam and Misail, inciting the people with a story about executions and massacres in Rus'. For this, one sentence from the people - "Death, death to Boris!" Under the hot hand come across the Jesuits. The Pretender appears, the people greet him. And although the Jesuits and the governor are freed by the Pretender, everyone follows him to Moscow. Only the Holy Fool sits alone on the stone. His mournful song predicts trouble, bitter tears, dark, impenetrable darkness.

There are half a dozen versions of Boris Godunov. Mussorgsky himself left two; his friend N. A. Rimsky-Korsakov made two more, one version of the orchestration of the opera was proposed by D. D. Shostakovich, and two more versions were made by John Gutman and Karol Rathaus in the middle of our century for the New York Metropolitan Opera. Each of these options gives its own solution to the problem of which scenes written by Mussorgsky to include in the context of the opera and which to exclude, and also offers its own sequence of scenes. The last two versions, moreover, reject Rimsky-Korsakov's orchestration and restore Mussorgsky's original. As a matter of fact, as far as the retelling of the content of the opera is concerned, it does not really matter which of the editions to follow; it is only important to give an idea of ​​all the scenes and episodes written by the author. This drama is built by Mussorgsky rather according to the laws of the chronicle, like Shakespeare's chronicles of Kings Richard and Henry, rather than a tragedy in which one event inevitably follows from another.

Nevertheless, in order to explain the reasons that caused the appearance of such a large number of editions of the opera, we present here the preface by N. A. Rimsky-Korsakov to his edition of "Boris Godunov" in 1896 (that is, to his first edition):

“The opera, or folk musical drama, Boris Godunov, written 25 years ago, at its first appearance on stage and in print, caused two opposing opinions in the public. The high talent of the composer, the penetration of the folk spirit and the spirit of the historical era, the liveliness of the scenes and the outlines of the characters, the truth of life both in drama and comedy, and the vividly captured everyday side, with the originality of musical ideas and techniques, aroused admiration and surprise for one part; impractical difficulties, fragmentation of melodic phrases, inconvenience of voice parts, rigidity of harmony and modulations, errors in voice leading, weak instrumentation and generally weak technical side of the work, on the contrary, caused a storm of ridicule and censure from the other part. For some, the mentioned technical shortcomings obscured not only the high merits of the work, but also the very talent of the author; and vice versa, some of these very shortcomings were erected almost into dignity and merit.

Much time has passed since then; the opera was not given on the stage or was given extremely rarely, the public was unable to verify the established opposing opinions.

"Boris Godunov" was composed in front of my eyes. Nobody like me, who was in close friendly relations with Mussorgsky, could have known the intentions of the author of "Boris" and the very process of their implementation so well.

Highly appreciating Mussorgsky's talent and his work, and honoring his memory, I decided to set about technical processing of Boris Godunov and its re-instrumentation. I am convinced that my adaptation and instrumentation by no means changed the original spirit of the work and the very intentions of its composer, and that the opera I have processed, nevertheless, belongs entirely to the work of Mussorgsky, and the purification and streamlining of the technical side will only make its high quality more clear and accessible to all. meaning and stop all criticism of this work.

When editing, I made some cuts due to the too long length of the opera, which forced, even during the author's lifetime, to shorten it when performed on stage at moments too significant.

This edition does not destroy the first original edition, and therefore Mussorgsky's work continues to be preserved intact in its original form.

In order to make it easier to navigate the differences between the author's editions of the opera, as well as to better understand the essence of the director's decisions in modern productions of the opera, we present here a schematic plan of both Mussorgsky's editions.

First edition (1870)
ACT I
Picture 1. courtyard of the Novodevichy Convent; the people ask Boris Godunov to accept the kingdom.
Picture 2.
ACT II
Picture 3.
Picture 4.
ACT III
Picture 5. Tsar's tower in the Kremlin; Boris with children; boyar Shuisky talks about the Pretender; Boris experiences torment and remorse.
ACT IV
Picture 6. Square near St. Basil's Cathedral; The holy fool calls Boris King Herod.
Picture 7. Meeting of the Boyar Duma; Boris's death.
Second edition (1872)
PROLOGUE
Picture 1. courtyard of the Novodevichy Convent; the people ask Boris Godunov to accept the kingdom.
Picture 2. Moscow Kremlin; the wedding of Boris to the kingdom.
ACT I
Picture 1. Cell of the Chudov Monastery; scene of Pimen and Grigory Otrepiev.
Picture 2. Tavern on the Lithuanian border; the fugitive monk Gregory hides in Lithuania, then to reach Poland.
ACT II
(Not divided into pictures)
A number of scenes in the royal chamber in the Kremlin.
ACT III (POLISH)
Picture 1. Lavatory of Marina Mnishek in Sandomierz Castle.
Picture 2. The scene of Marina Mnishek and the Pretender in the garden by the fountain.
ACT IV Picture 1. Meeting of the Boyar Duma; Boris's death.
Picture 2. Popular uprising near Kromy (with an episode with the Holy fool, borrowed - in part - from the first edition).

A. Maykapar

RECORDING OPERA TO MP3

Boris Godunov……………………………………………………… Alexander Pirogov (bass)
Ksenia, daughter of Boris………………………………………………… Elena Kruglikova (soprano)
Fedor, son of Boris………………………………………………… Bronislav Zlatogorov (mezzo-soprano)
Ksenia’s mother……………………………………………………………………………………………………………………………………………………………………………………………………… Evgenia Verbitskaya (low mezzo-soprano)
Prince Vasily Ivanovich Shuisky………………………………Nikander Khanaev (tenor)
Andrey Shchelkalov, Duma Clerk…………………………………I. Bogdanov (baritone)
Grigory Otrepiev, aka the Pretender under the name of Dimitri ... Georgy Nelepp (tenor)
Pimen, chronicler, hermit monk……………………………Maxim Mikhailov (bass)
Holy fool……………………………………………………………… Ivan Kozlovsky (tenor)
Marina Mnishek, daughter of the governor of Sandomierz…………………Maria Maksakova (soprano)
Varlaam, the tramp………………………………………………………Vasily Lubentsov (bass)
Misail, a vagabond…………………………………………………………V. Yakushenko (baritone)
Innkeeper………………………………………………………… Alexandra Turchin (mezzo-soprano)
Bailiff………………………………………………………………S. Krasovsky (bass)
Boyar Khrushchev, Middle Boyar…………………………………A. Peregudov (tenor)
Voices from the people:
Mityukha……………………………………………………………I. Sipaev (bass)
Babs………………………I. Sokolova, M. Kuznetsova (mezzo-soprano and soprano)
Guy………………………………………………………………N. Khapov (tenor)

Opera in four acts with a prologue; libretto by Mussorgsky based on the drama of the same name by A. S. Pushkin and “History of the Russian State” by N. M. Karamzin. First production: St. Petersburg, Mariinsky Theatre, January 27 (February 8), 1874.

Characters:

Boris Godunov (baritone or bass), Fedor and Xenia (mezzo-soprano and soprano), Xenia's mother (mezzo-soprano), Prince Vasily Shuisky (tenor), Andrey Shchelkalov (baritone), Pimen (bass), Pretender under the name of Grigory ( tenor), Marina Mnishek (mezzo-soprano), Rangoni (bass), Varlaam and Misail (bass and tenor), hostess of the tavern (mezzo-soprano), holy fool (tenor), Nikitich, bailiff (bass), middle boyar (tenor) , boyar Khrushchov (tenor), Jesuits Lavitsky (bass) and Chernikovsky (bass), boyars, archers, rynds, bailiffs, pans and panis, Sandomierz girls, passers-by, the people of Moscow.

The action takes place in Moscow in 1598-1605.

Prologue

Novodevichy Convent. Boyar Boris Godunov found refuge here. After the death of Tsar Theodore, he should take the royal throne. The people reluctantly fill the courtyard of the monastery. The bailiff makes the crowd beg Boris to marry the kingdom (chorus "Who are you leaving us for"). The Duma clerk Shchelkalov reports that Godunov is refusing the crown ("Orthodox! The boyar is inexorable").

Square in the Moscow Kremlin. The people praise Godunov, who finally agreed to marry the kingdom. On the threshold of the Assumption Cathedral, Boris, sad and pensive, addresses with reverent praise to his predecessor and to other sovereigns of Holy Rus' (“Soul Sorrows”).

Act one

Cell in the Miracle Monastery. Elder Pimen writes a chronicle (“One more, last tale”). Novice Gregory wakes up from a nightmare that haunts him not for the first time. Pimen tells him how Tsarevich Dimitri, the brother of the late Theodore, was killed by assassins sent by Boris. Gregory learns that if Demetrius were alive, he would now be his age. When Pimen leaves, Grigory reveals his intention to take revenge on Godunov for a terrible crime.

Tavern on the Lithuanian border. The shinkarka sings a merry song (“I Caught a Gray Drake”). The poor monks Misail and Varlaam enter, and with them Gregory, who has fled from the monastery and disguised: he is about to cross the border. Varlaam, drunk, drags out the song ("As it was in the city in Kazan"). While he is dozing, muttering another song (“How yon rides”), Grigory asks the tavern where he can cross the border. Suddenly, the bailiff and soldiers appear in the tavern: they show the royal decree to catch the runaway monk, that is, Gregory. Since the bailiff cannot read, Gregory undertakes to do it himself and instead of his signs he names the signs of Varlaam (“From the Chudov Monastery”). He tears out the paper and, reading through the warehouses, reveals his deceit. Gregory jumps out the window and runs away.

Action two

The Tsar's tower in the Kremlin. Boris's daughter Xenia mourns the death of her fiancé. The Tsar consoles Xenia. He realizes that he is hated by the people and that the wrath of God pursues his family. Often he has a terrible ghost of a bloodied and demanding retribution boy ("I have reached the highest power"). Prince Shuisky brings news of a rebellion led by someone who called himself Demetrius. Boris is horrified, he asks Shuisky if the prince was really killed. The prince describes the dead baby in detail. Having sent Shuisky away, the tsar is left alone. The blood ghost haunts Boris. The room darkens, the chimes gloomy beat ("Ugh! It's hard! Let me take a breath").

Act Three

Marina Mniszek's room at Sandomierz Castle in Poland. The girls dress her and comb her hair, entertaining her with songs (“On the Azure Vistula”). Marina dreams of the Moscow throne ("How languid and sluggish"). Her spiritual father, the Jesuit Rangoni, wants even more: to convert Rus' to Catholicism.

Garden near the castle. Dimitri comes to the fountain, where Marina made an appointment with him. With a crowd of feasters, she leaves the castle (with the chorus “I don’t believe your passion, sir”), Dimitri ardently declares his love for her, but she is driven by a cold calculation: she encourages him to first achieve the crown with the support of the Poles. Dimitri falls on his knees in front of her (duet "O prince, I beg you").

act four

Square in front of St. Basil's Cathedral. Anathema to the Pretender sounds from the cathedral. The people sympathize with the Pretender, whom they consider the real prince. A holy fool appears, he sings something meaningless and plaintive (“The moon is coming, the kitten is crying”). The boys take a penny from him and run away. The king comes out of the cathedral. All hands reach out to him. "Of bread!" - a desperate and threatening cry is heard. The holy fool asks Boris to punish the boys who offended him: "Tell them to slaughter them, as you slaughtered the little prince."

The Faceted Chamber in the Kremlin. The boyar duma gathered here to discuss the state of affairs in connection with the approach of False Demetrius. Shuisky tells how recently the ghost of the murdered prince appeared to the king; someone does not believe him, but everyone freezes when Boris enters, driving the ghost away from him. The tsar takes control of himself and turns to the boyar duma with a request for help and advice. Shuisky informs him of the arrival of the holy elder. This is Pimen: he tells the story of a blind shepherd who was healed at the grave of the prince. At the end of the story, Boris can barely stand on his feet. He calls his son, gives him the last instructions on how to rule the state ("Farewell, my son"). The bell sounds. Boris falls dead.

Forest clearing near Kromy. Night. The rebellious people have captured the boyar Khrushchov and are mocking him. With a victory song, the monks Misail and Varlaam (“The sun, the moon faded”) enter and inflame the people even more (the choir “Dispersed, cleared up”). The arrived Jesuits Lavitsky and Chernikovsky are captured and sent to the fortress. To the sound of trumpets, the troops of Demetrius appear, whom everyone joyfully greets. The people go with him to Moscow. Only the holy fool remains on the stage, he cries and sings a mournful song (“Flow, pour, bitter tears”).

G. Marchesi (translated by E. Greceanii)

BORIS GODUNOV - opera by M. Mussorgsky in 4 acts with a prologue, libretto by the composer after A. Pushkin and N. Karamzin. Premiere: St. Petersburg, Mariinsky Theatre, January 27, 1874, conducted by E. Napravnik; in Moscow - the Bolshoi Theater, December 16, 1888, under the direction of I. Altani. In N. Rimsky-Korsakov's version, the opera was first performed under his direction in the Great Hall of the St. Petersburg Conservatory on November 28, 1896 (performance by the Society of Musical Meetings; M. Lunacharsky - Boris, F. Stravinsky - Varlaam). Since then, it has been staged only in this version for many years.

Decisive in the stage history of the work was the performance of the Russian Private Opera on December 7, 1898, in which the title role was first performed by F. Chaliapin. Soon "Boris Godunov" appeared in the repertoire of peripheral theaters (for example, Kazan - 1899; Orel, Voronezh, Saratov - 1900), in 1901 it was staged at the Bolshoi Theater with Chaliapin in the main role (L. Sobinov - Pretender ), in 1904 - in the Mariinsky. Gradually, he became one of the most repertory operas, conquering all the stages of the world. "Boris Godunov" is the central work of Mussorgsky and one of the pinnacles of Russian and world musical art. The composer worked on the 1st edition in 1868-1869. She was rejected by the conservative opera committee of the Mariinsky Theater in February 1871. In 1871-1872. Mussorgsky created a new edition: he composed a rebellious scene near Kromy, which became the finale of the opera, added two Polish paintings with the participation of Marina Mniszek, reworked the scene in the tower (in particular, he wrote a new Boris monologue, introduced genre scenes), and made changes to other paintings. The scene at St. Basil's Cathedral was excluded, and the cry of the Holy Fool from it was transferred to the finale of the opera. Some changes were made even after the premiere, when preparing the edition of the clavier (1874).

"Boris" was composed and finalized simultaneously with Rimsky-Korsakov's Pskovityanka. All the Kuchkists took part in the discussion. Particularly significant was the role of V. Stasov and the historian V. Nikolsky, who suggested to Mussorgsky the theme of the work. On his own advice, the composer changed the sequence of the two final scenes, ending the opera with a scene near Kromy (originally it ended with the death of Boris; Rimsky-Korsakov restored this sequence in his version). 24 scenes of Pushkin's tragedy were compressed in the final version of the opera to 9 scenes (the scene at St. Basil's Cathedral often joins them in domestic theatrical practice).

The composer did not limit his task to resurrecting the images of the past. Dramatic vicissitudes of the 17th century. he saw from the standpoint of a contemporary of the events of the 60s. 19th century The formula "past in the present", put forward by him (albeit on a different occasion), is ambiguous. She speaks about the vitality of the old, and that the roots of the new go back to the past.

The opera is based on Pushkin's brilliant creation, which shows not only the tragedy of conscience (Pushkin accepted the version that Boris was guilty of the murder of Tsarevich Dimitri), but above all the conflict between the tsar and the people, acting as an incorruptible judge and the decisive force of history. "The opinion of the people" determines the success of the Pretender, but the formidable silence of the crowd at the end of the tragedy marks the collapse of this support. Mussorgsky developed and strengthened the role of the people, making them the main character. The opera shows the change in the attitude of ordinary people towards Boris and the royal power. From indifference in the election of the king, through his condemnation by the Holy Fools, to open rebellion, there is a movement of mass scenes. But the wrath of the people is skillfully and treacherously used by the protege of the gentry, the Pretender. The opera ends with the wailing of the Holy Fool over the fate of Rus'. The personal tragedy of the hero, shown with exceptional psychological depth, is inextricably linked with the attitude of the people towards him. Boris cannot but see the indifference of the masses towards him, but love of power wins. Already in his first monologue “Soul Sorrows” sounds not so much triumph (the goal is achieved - he became king), but “involuntary fear”, “ominous foreboding”. Mussorgsky, like a brilliant playwright, builds on the same harmony the ringing of bells that accompanies the coronation, and the funeral ringing that precedes the death of Boris. Death is inherent in the election of his king. The growth of popular protest leads to the gradually increasing loneliness of Godunov. Not only pangs of conscience (they play a big role in this complex psychological image), but also the consciousness of the futility of trying to win the trust of his subjects and their love determine the drama of Boris. And if the climax of the personal drama is the finale of the second day (hallucinations), then the highest point of the drama of the man and the tsar, condemned and rejected by the people, is the scene of Boris with the Holy Fool (at St. Basil's Cathedral). Mussorgsky in "Boris Godunov" is not inferior to either Tolstoy or Dostoevsky in depth of psychological analysis, revealing the subtlest movements of the soul, and in his ability to recreate the images of history is equal to Surikov. There was no work that reveals the tragedy of the individual and the people with such force in the world of opera.

With great difficulty, "Boris" made his way to the viewer. The 2nd edition, like the 1st, was rejected by the theater. However, some of its fragments were performed in concerts, and finally it was possible to ensure that three scenes were presented in the benefit performance (tavern, scene at Marina, stage at the fountain) with the participation of F. Komissarzhevsky, O. Petrov, D. Leonova, Yu. Platonova and O. Palechek. The performance took place on 5 February 1873 and was a great success. Even critics who were hostile to Mussorgsky had to recognize his victory. G. Laroche wrote: ““Boris Godunov” is a very significant phenomenon. This opera revealed that in the circle that forms the extreme left of our musical world ... there is an original, independent content ... They say that knowledge is power. To a much greater extent it is true that talent is power. The performance of February 5 convinced me that this power in the far left of our musical world is incomparably greater than one could have imagined. " In the end, the director of the imperial theaters S. Gedeonov, yielding to the insistence of the singer Yu. the inclusion of "Boris" in the repertoire. Rehearsals began at the end of 1873. The first performance was an exceptional success with a democratic audience, but caused discontent among conservative circles and furious controversy in the press. Her passion testified to the profound impact of the opera on listeners. But the matter was not limited to controversy. Decisive attempts were made to extinguish the rebellious spirit of the work.When the opera was resumed in 1876, the scene near Kromy was thrown out, which had previously provoked attacks of a political nature. V. Stasov, in his article "Cuttings in Mussorgsky's Boris Godunov", protested ardently against the barbaric distortion of the composer's intention, calling this scene the crown of creation - "higher and deeper than anything in concept, in nationality, in original creativity, in the power of thought." ..Here the whole “Underground Russia” is expressed with amazing talent, rising to its feet with its power, with its harsh, wild, but magnificent impulse at the moment of all kinds of oppression that fell upon it, ”the critic wrote.

In 1882, Boris was excluded from the repertoire of the Mariinsky Theater by a decree of the Artistic Council, the decision of which was due to motives that had nothing to do with art. The history of the first Moscow production was short-lived, despite its success and the bright talent of P. Khokhlov, who replaced B. Korsov, in the title role. Staged in 1888, the opera was withdrawn after ten performances in 1890.

"Boris Godunov" did not enjoy the favor of those in power; Alexander III and Nicholas II deleted him from the repertoire of the imperial theaters. Another was the position of the leading figures of Russian culture, who remained faithful to the high ideals of the 60s, and above all Stasov, Rimsky-Korsakov. New edition and instrumentation of "Boris", carried out in the 90s. Rimsky-Korsakov, aimed to bring the opera in line with the performing practice of the Russian opera theater. Due to the smoothing of harmonic and orchestral sharpness, some of the individual features of Mussorgsky's style, of course, were lost. But the editing played a very important role, making the opera more performable and facilitating its way to the stage.

In 1898, Rimsky-Korsakov's version was staged at the Moscow Private Opera with Chaliapin in the title role. The great artist did not part with this role all his life, introducing more and more new strokes into its performance. The ingenious interpretation of the part of Boris determined the growing success, the worldwide fame of the opera and determined the peculiarities of its perception as a whole (often Chaliapin also acted as its director). Thanks to the exceptional brightness of the embodiment of the title role, the tragedy of the conscience of the criminal king was in the spotlight. The Kromy scene was usually excluded; the scene at St. Basil's Cathedral was first staged only in 1927.

In the work on the part of Boris, Chaliapin had unusual consultants - S. Rachmaninov in the field of music and V. Klyuchevsky in the field of history. The image created by the artist was a new, high achievement of Russian musical stage realism. Y. Engel testified: “Chaliapin played the title role; what a talented artist made of her! Starting with makeup and ending with every pose, every musical intonation, it was something amazingly alive, convex, bright.

The role improved with each performance. Chaliapin revealed the life of the hero from the highest rise (coronation) to death. Critics noted the high nobility, the grandeur of Boris' appearance and at the same time a feeling of vague anxiety that gnaws at his soul in the prologue. This anxiety, which flashed for a moment, develops, turns into dull melancholy, suffering and torment. Chaliapin, with amazing tragic power and strength, conducted the monologue “I have reached the highest power”, a scene with Shuisky, hallucinations.

E. Stark wrote: “Boris expels Shuisky and, in complete exhaustion, sinks down at the table ... Suddenly he turned around, inadvertently his gaze glided over the clock, and ... oh, what happened suddenly to the unfortunate tsar, which whispered to him extremely inflamed imagination, what ghost seemed to him in the silence of the stuffy chamber? As if under the influence of superhuman strength, Boris straightens up terribly, leans back, almost knocks over the table at which he was sitting, and his fingers convulsively dig into the thick brocade tablecloth ... “What is this? there in the corner ... swaying ... growing ... approaching ... trembling and moaning! " Icy horror is heard in every word ... Like a knocked-down Boris falls to his knees ... The tension of horror reaches its highest point, the shock of the whole being exorbitantly more than a person can bear, and now enlightenment comes, the monstrous ghost has disappeared, the moment of hallucination has passed, everything is the same in the calm chamber, the even light of the moon is quietly pouring through the window, and in this vague light Boris, on his knees, with his face, turned into a corner with images, completely exhausted, as if waking up from a heavy sleep, haggard, with lowered corners of the mouth, with blurred eyes, does not speak, but somehow babbles like a baby.

In the last scene, “Tsar Boris appears in robes, but with his head uncovered, with disheveled hair. He has aged a lot, his eyes have sunk even more, even more wrinkles have furrowed his forehead. Having come to his senses, the king “slowly, dragging his feet, moves towards the royal place, preparing to listen to the story of Pimen brought by Shuisky. Boris listens to him calmly, sitting motionless on the throne, motionlessly fixing his eyes on one point. But as soon as the words were heard: “Go to Uglich-grad”, as a sharp anxiety pierces his soul like an arrow and grows there, grows, as the elder’s story about the miracle at the grave develops ... By the end of this monologue, Boris’s whole being is captured insane anxiety, his face betrays what unbearable torment his soul is experiencing, his chest rises and falls, his right hand convulsively crumples the collar of his clothes ... his breath caught, his throat caught ... and suddenly with a terrible cry: “Oh, stuffy!. Stuffy!.. Light!" “Boris jumps up from the throne, throws himself off the stairs somewhere into space.” With the same force and truthfulness, Chaliapin performed the scene with Tsarevich Fyodor, showing Boris's struggle with approaching death, and the very scene of death.

The drawing of the role found by the outstanding artist and the details of his performance determined the interpretation of the part by subsequent performers. Chaliapin himself carried the image he created through all the stages of the world, starting from Moscow (following the Mammoth Opera - at the Bolshoi Theater) and St. Petersburg, and then abroad - at Milan's La Scala, in Paris, London, New York, Buenos -Ayres, etc. The traditions of Chaliapin were followed by both Russian singers - G. Pirogov, P. Tsesevich, P. Andreev and others, and foreign ones - E. Giraldoni, A. Didur, E. Pintsa and others. This tradition is alive and in our days.

It would be wrong to reduce the pre-revolutionary stage history of Mussorgsky's opera to Chaliapin alone. The approaches of theaters were different - for example, the Mariinsky Theater (1912) and the Musical Drama Theater (1913), which nominated outstanding performers (A. Mozzhukhin). An interesting interpretation of the opera was given by the director A. Sanin when staged at the St. Petersburg People's House in July 1910 with N. Figner as the Pretender. However, as a tragedy of the people, and not just the tsar, Boris Godunov was interpreted for the first time in the Soviet theater. The study of the great composer's manuscripts by researchers (primarily P. Lamm) and the publication of a complete consolidated author's version of the opera allowed theaters to stage the author's version along with Rimsky-Korsakov's version. Later, a third version appeared - by D. Shostakovich, who re-instrumented the opera, but retained inviolable all the features of Mussorgsky's harmony. The Soviet theater sought a truthful and profound disclosure of the author's intention, overcoming vulgar sociological delusions. For the first time in the performance of the Bolshoi Theater (1927), carried out on the basis of Rimsky-Korsakov's version, the scene near St. Basil's Cathedral (instrumented by M. Ippolitov-Ivanov) sounded, deepening the drama of the people and Boris. An important role in the stage history of the opera was played by its first performance in the author's edition (Leningrad, Opera and Ballet Theatre, February 16, 1928, conducted by V. Dranishnikov). The Soviet theater, unlike the pre-revolutionary one, attached decisive importance to folk scenes, so the picture near St. Basil's Cathedral and the scene near Kromy were in the center of attention.

In our country and abroad, the opera is performed both in the author's version and in the editions of Rimsky-Korsakov and Shostakovich. Among the best domestic performers of the title role are Grigory and Alexander Pirogov, M. Donets, P. Tsesevich, L. Savransky, M. Reizen, T. Kuuzik, A. Ognivtsev, I. Petrov, B. Shtokolov, B. Gmyrya; among foreign - B. Khristov, N. Rossi-Lemeni, N. Gyaurov, M. Changalovich, J. London, M. Talvela. Conductors V. Dranishnikov, A. Pazovsky, N. Golovanov, A. Melik-Pashaev and others interpreted the score of Boris Godunov in depth. In London's Covent Garden in 1948 one of the best productions was staged (directed by P. Brook), in 1970 the opera was staged there under the direction of G. Rozhdestvensky. In 1975, director Y. Lyubimov showed his interpretation of "Boris" on the stage of "La Scala" in Milan. In subsequent years, one should note the production of A. Tarkovsky at Covent Garden (1983), as well as performances in Zurich (1984, M. Salminen - Boris) and at the Florentine Musical May festival conducted by M. Chung (1987). After the director's death, A. Tarkovsky's production was transferred to the stage of the Mariinsky Theater (premiere - April 26, 1990, directed by V. Gergiev; R. Lloyd - Boris). In 2004, a production was staged in New York (conductor S. Bychkov).

The opera was repeatedly filmed, in Russia - in 1955 (director V. Stroeva; G. Pirogov - Boris, I. Kozlovsky - Yurodivy), abroad - in 1989 (director A. Zhulavsky, conductor M. Rostropovich; R. Raimondi - Boris, G. Vishnevskaya - Marina).

M.P. Mussorgsky "Boris Godunov" (first production - 1874)

One of the main ideas of Mussorgsky, embodied in his operatic work, was the desire to show the true history of Rus'. The composer conceived an opera trilogy about three revolutions:

1. Boris Godunov

2. XVIII century - schismatics and Westerners ("Khovanshchina")

3. Pugachev uprising

I. The history of the creation of the opera: Mussorgsky began work on Boris Godunov in the second half of the 60s. In working on the concept of the opera, the composer relied on several sources:

- "Chronicles" of Shakespeare;

- "History of the Russian State" Karamzin;

Pushkin's tragedy Boris Godunov. The composer places the antithesis “tsar-people” at the center of the plot conflict, for him, as well as for Pushkin, it is obvious that the idea of ​​an absolute monarchy is criminal (for Shakespeare, the legitimacy of the monarch’s power is undeniable) – one person does not have the right to decide the fate of the entire nation. However, the endings of the tragedies of Pushkin and Mussorgsky are different. In Pushkin, “the people are silent,” while Mussorgsky paints a picture of a spontaneous popular revolt.

At the moment there are several editions of the opera. “Mussorgsky himself left, Rimsky-Korsakov made two more, changing the orchestration, D. Shostakovich offered his own version. Two more versions were made by John Gutman and Karol Rathhaus in the middle of the 20th century for the New York Metropolitan Opera. Each of these options gives its own solution to the problem of which scenes written by Mussorgsky to include in the context of the opera and which to exclude, and also offers its own sequence of scenes.

II. The dramaturgy of the opera connects three lines:

1. Boris's personal drama is a line going "on the wane".

2. A collective portrait of the people - this line, on the contrary, crescendos

3. There is also a dramatic intermediary sphere - the image of the Pretender. On the one hand, this line forms the political entourage of the era, on the other hand, it provokes and pushes the development of the first two spheres.

III. Musical embodiment of dramatic collision.

The image of the people. This dramatic sphere is characterized in two ways: the people as a monolith and the people personified in specific characters-characters.

Monolith people. The exposition of the image is given in the Prologue to the opera, where the people are shown united in their passivity, acting under duress (bailiff). In the symphonic introduction to the first scene of the Prologue, the theme of “the suffering of the people” and the theme of “power” sound (the idea of ​​power in this case is embodied in the image of a bailiff).

I picture of the prologue is a huge choral fresco, it has a tripartite structure. The main theme is written in the spirit of lamentation, the middle section is unusual. Here Mussorgsky is an innovator, since he creates a choral recitative, which is designed to show the disinterest of the people in what is happening. The reprise sounds more dynamic due to the involvement of the intonations of the chant. The conclusion of the picture is the arioso of the duma clerk and the chorus of the kaliks of passers-by.

Scene II of the Prologue continues the exposition of the image: if before the people wept “under duress,” now they are compelled to rejoice and glorify the new king. Mussorgsky uses the Russian folk theme "Glory to Bread" as the basis of a glorious chorus.

The next stage in the development of the image of the people is act IV. Scene I - a scene at St. Basil's Cathedral: the people believe that the impostor is Tsarevich Dimitri, who miraculously escaped, which fuels hatred for Tsar Boris. The clash between the people and Boris develops from a request to a demand (“Bread!”).

The final phase of the development of the image of the people is the scene near Kromy, a picture of a spontaneous rebellion (2nd scene of Act IV). There are several sections in this scene: I - recitative choral, introductory; the main one is the greatness of the boyar Khrushchev; the third section - the exit of Valaam and Misail with curses to Boris “The sun, the moon faded” (here the epic chant “Svyatoslav lived 90 years” is used); the culminating section is the choral fugue "They dispersed and cleared up." Its main theme is solved in the spirit of youthful songs, the chorus “Oh, you, power, power” - the folk theme “Play my bagpipes”. At the moment of the greatest emotional upsurge, Catholic monks and False Dmitry appear. There is a tragic demolition in the image of the people - people welcome the impostor, seeing in him the rightful king. The opera ends with the lament of the Holy Fool "Flow, flow, bitter tears"

People's sphere characters.

Pimen embodies the idea of ​​equality of people in the face of history, this image also reflects the idea of ​​people's memory as the highest court. The character is endowed with 2 leittems: the 1st - the theme of Pimen the chronicler, the 2nd - the theme of Pimen the hero. She will become the main characteristic of the hero and will accompany him throughout the opera.

Varlaam and Misail - examples of a characteristic portrait in the work of Mussorgsky. These are the ministers of the church, who, however, do not lead a church life at all (they drink in a tavern, participate in a popular revolt), in this capacity they receive a satirical characterization that emphasizes their hypocrisy. The first song of Varlaam “As it was in the city in Kazan” is an expression of strength and power, the elemental daring of the Russian people. Varlaam's second song "Yon Rides" is a comic characterization; the folk song "The bells rang" is used here.

holy fool first appears in the 1st scene of act IV. This image is close in spirit to Pimen, as it embodies the idea of ​​a people's court. The holy fool accuses Boris of murdering Tsarevich Dimitri. His song "The Month Rides" corresponds to the tradition of lamentation and lamentation.

Boris image. This is one of the most profound and ambiguous images in world musical literature. The complexity is determined by the psychological problem of morality, sick conscience. Boris cannot be unequivocally classified as a villain, since positive qualities are also noted in his characterization. He is shown as a family man, a loving father (Act II, a scene with children - Xenia and Theodore), there are positive features in his political aspirations, one of his main ideas is power for the good of the country. However, he comes to power by committing the murder of a child.

The protagonist is characterized by leittems and extended vocal monologues. There are several leittems: the first one appears in the 2nd picture of the Prologue - this is the theme of Boris's gloomy forebodings; the second (the theme of family happiness) and the third (hallucinations - active chromatically descending moves) themes appear in act II.

In Boris's monologues (I - "The soul grieves" from the 2nd picture of the Prologue), II - "I have reached the highest power" from the II act) the principles of the recitative-ariose style laid down by Dargomyzhsky are embodied. Each phrase of the text finds an adequate embodiment in music. The nature of the musical statement changes in accordance with the dynamics of the state of the hero.

The development of the image of Boris is "directed" by two characters - the Pretender and Shuisky. Shuisky provokes remorse of the king's conscience. For the first time, he tells about the death of the prince (II act), which causes an attack of visions in Boris. The second time he brings Pimen (IV act) with news of a miracle (he had the voice of Tsarevich Dimitri, who announced that he had been accepted into the face of angels and his grave had become miraculous). The impostor acts for Boris as the embodiment of a sick conscience, a reminder of an innocent victim. The impostor's leittema originally appears in Pimen's story from Act I as Demetrius's theme.

The denouement of the image of Boris is the scene of death, which is built in detail by Mussorgsky from a psychological point of view. Boris leaves the kingdom to his son Theodore, showing himself as a loving father, a wise statesman, and a politician. He indirectly admits his guilt (“... do not ask at what price I bought the kingdom”) and turns to God with a prayer.

Topics (edited by P. Lamm):

Introduction to the Prologue:

The theme of the suffering of the people - p.5, 5 bars to C.1

The topic of the bailiff - p.7, C.4

Prologue:

I painting

Choir “Who are you leaving us for” – p.9, C.6

“Mityukh, and Mityukh, why are we yelling?” - p.14, C.11 - according to the notes

Arioso of the Duma Clerk “Orthodox! The boyar is inexorable "- p.30, C.24 - according to the notes

II painting

Chorus “Oh, how glory to the red sun in the sky!” – p.50, C.7

Boris's monologue "Grieves the soul" - p.57, C.15

Iaction:

1st picture

Theme of Pimen the Chronicler – p.64 (orchestra up to C.1)

Theme of Pimen the Bogatyr - p.67, C.5 - according to the notes

The theme of Tsarevich Dimitry (later - the theme of the Pretender) - p.84, C.36

2nd picture

Scene in a tavern, Varlaam and Misail "Christian people" - p.97, C.10

Varlaam's song (1st) "As in a city" - p.103, C.19 - from notes

Varlaam's song (2nd) "How yon rides" - p.112, C.33 - from notes

IIaction, 2nd edition (two editions in total)

Boris's monologue "I have reached the highest power" - p.200, C.43

“Heavy right hand of the formidable judge” - p.202, C.47

The theme of hallucinations “And even a dream runs” (orchestral part) - p.207, C.52, 4th bar - from notes

IIIaction "Polish"

IVaction

1st picture (in the version of the clavier of 1874, St. Basil's scene is missing)

Song of the Holy Fool "The Moon is Ride" - p.334, C.19

Chorus "Batiushka, breadwinner, give for Christ's sake" - p.337, C.24 - from notes

"Of bread! Of bread!" – p.339, C.26

2nd picture

The scene of Boris's death "Farewell my son" - p.376, C.51 - from notes

3rd picture (scene under Kromy)

Magnification of the boyar Khrushchev “Not a falcon flies” - p.396, C.12 - from notes

Varlaam, Misail "The sun, the moon faded" - p.408, C.25 - from notes

Choir "Dispersed, cleared up" - p.413

“Oh, you, strength, strength” - p.416, C.34