Khovanshina is an opera that you can not understand unless you see it a few times. The opera has three different forces, all of which are political opponents, but they unite against the reforms of tsar Peter I. The best vocal performance comes from Nesterenko. He is the best Dosifey since Mark Reyzen. His Dosifey is not a sweet-voiced preast, nor a humble monk. In Nesterenko, Dosifey becomes a great force, who virtualy scares away all of his opponents. During the final sceene, Nesterenko seems to be so sure about the mass burning, that you get his feeling to. Arkhipova is also a great Marfa, but her appearance is not exactly one of a young girl, who has fallen into religion. Raikov is a good Golitsin and Romanovskiy is a liric Shaklovitiy. Andryuschenko is not the best Andrey khovanskiy, but Miglau and Vlasov are both outstanding as Emma and the Scribe. Aleksandr Vedernikov seems to be the best Ivan Khovanskiy on video. He does not sing as well as he plays, but Khovanskiy is a role where dramatical abbilities of a singer are more importaint, than his vocalism. Yuriy Simonov conducts with style. The production of Leonid Baratov has perhaps lost some dramatism after the death of the director. The Sets by Feodor Fedorovskiy are magnificent. His Khvonshina (and Boris Godunov) has the best operatic sets I ever saw.