Tsar's Bride-Comp Opera

Of ALL the Russian sopranos I have heard, Shaguch is my favourite. Her technique may not be perfect: her singing is described by some as initially "edgy" or "breathy", though this is not as off-putting as it sounds and she settles very well into her roles soon enough. But where the role calls for an innocent, young voice, MOST off-putting for me is the heavy, full rich vocals that are so RAMPANT within many recordings of Russian opera. What's worse is that this is often accompanied by a violent wobble that is forever beyond me. Shaguch, sounding every bit as Russian as she is/should, has a beautiful, youthfully sweet and compelling voice, with a moving vibrato (NOT wobble). Her interpretation of the role is immediately convincing and her mad scene is the stuff of legends! She would have been the IDEAL Fevroniya for Gergiev's recording of Kitezh but the only other available Kirov recording featuring this wonderful soprano is the fairy-tale opera "Kaschey the Immortal," also by Rimsky-Korsakov. She is also ideally paired with the youthful tenor of Evgyeny Akimov. Akimov sounds a little strained during the beautiful quartet in Scene 3 of Act 2, but gives a shining performance otherwise.

Dmitri Hvorostovy's dramatic baritone reminds me of a modern Sherril Milnes: warm yet firm, emotional and vocally stunning. His portrayal of Gryaznoy's arrogance, bravado, scheming and dispair is grippingly convincing.

When I heard the first notes sung by Olga Borodina's Lyubasha, I was immediately struck by (forgive the rhetoric) her smooth, honeyed tone! "Zdorovo klostnij" caught my breath in my throat. On the down-side, however, she could be more dramatic. Impressive as the recitative in Scene 4 is, her violent death in the final scene passes in silence. It is mainly her vocal gift that brings off her role so well.

Nikolai Gassiev's Bomyelius is also noteworthy. His character's craftiness and lust comes across very well. His appeals of "Lyumi menja" carry a strain that shows Bomyeli's sexual frustration.

Gennady Bezzubenkov's Sobakin is a towering monument. Here we encounter the deep Russian bass that has been so famous. The low last note at the end of his lament in Scene 1 of Act 4 separates the men from the boys...it CANNOT be faked! Only a TRUE bass can hit, let alone hold such a note.

It is unfortunate that the more matronly roles in many Russian opera almost always suffer the violent wobble I described earlier. Irina Loskutova's Domna Saburova is almost rediculous at first. This takes some getting used to. True, there are some beautiful moments, but the wobble is so vocally ungracefull it sounds as if she sings the notes AROUND her vocal line rather than follow the tune. This, for me, was the biggest set-back within the recording, but with such stunning music, the poorly sung role is actually compensated somewhat. The other roles are all well sung.

Yet another achievement for Gergiev and the Kirov Chorus and Orchestra. Gergiev conducts with feeling and the chorus is well synchronised. Though perhaps not as imaginatively as von Karajan or Abbado may have done, the score is well-conducted. Moreover, the fact that neither conducter actually DID (on record at least) makes Gergiev an undisputed hero.

From here, I would then recommend von Karajan's Rimsky-Korsakov arrangement of Mussorgsky's Boris Godinov (Decca); as well as Abbado's Shostakovich arrangement of the same opera (Deutche Grammophon). Following this, Abbado's Khovanshchina (also composed by Mussorgsky) would be a good idea....then, the world of Russian opera can be your playground!