Johann Mattheson (1681–1764)
Boris Goudenow (1710)
Boris Goudenow: Olivier Gourdy (bass)
Axinia: Julie Goussot (sopran)
Fedro: Sreten Manojlović (bass)
Irina: Flore Van Meerssche (sopran)
Theresia/Andrea Marchiol
rec. 2021, Chamber Hall, Tiroler Landestheater, Innsbruck, Austria
Sung texts with English translations enclosed
Reviewed as download from press preview
cpo 555502-2 [2 CDs: 148]
It may come as a surprise that Mussorgsky’s Boris Godunov had a predecessor composed more than a century and a half earlier. The reason is very simple: it was never performed at the time. It was composed for the Oper am Gänsemarkt in Hamburg, which for sixty years (1678 – 1738) was the most important theatre in the German-speaking part of Europe. Among the composers there were, besides Johann Mattheson, Reinhard Keiser, Georg Philipp Telemann and the young Handel, before he went to Italy. Mattheson wrote several operas and was also his own librettist and a singer. He was also a diplomat and probably he withdrew the opera not to jeopardize trade relations with the newly founded St Petersburg; we must remember that the historical events depicted in this opera took place just a century earlier.
Well, what happened to the music? Until WW2 the manuscript score and all other Mattheson works were kept in the Hamburg City Library, but they were removed for protection before the bombings began – and were lost for several decades. In 1998 they were found in Yerevan, the capital of Armenia, and were brought back to Hamburg. However, before the war, musicologist Hellmuth-Christian Wolff had studied and worked with some of the material, and that is probably the source for a recording of some excerpts from the opera I have on an old Electrola LP from the 1960s or 70s, where Theo Adam sings Boris’ first aria. It was not until 2005 that Boris Goudenow got its belated premiere in Hamburg, almost 300 years after its conception.
Mussorgsky’s and Mattheson’s librettos differ a lot. Mussorgsky begins with the crowning of Boris, whereas Mattheson begins much earlier and ends with the crowning. Among the characters in Mattheson’s version are two foreign princes, trying to find themselves a bride. Both were real-life persons: Gavust was a Swedish prince, Gustav (1568 – 1607) and a Josennah, a Danish prince, Johannes (1580 – 1602). Both role-names are anagrams of their real names. The opera as such is primarily a play about love.
I will not tire you with the rather long-winded plot. There is a detailed synopsis in the comprehensive booklet, where readers with an interest in political history can have their fill of background information. A peculiarity with the libretto, which obviously was common at the Oper am Gänsemarkt, is that the recitatives are sung in German, but the arias either in German or Italian. Some 15 years ago I reviewed Reinhard Keiser’s Fredegunda from 1715, which also had those characteristics. The structure is the usual for baroque operas: the dialogue is carried forward in secco recitatives, with musical numbers commenting on the feelings of the characters. And the musical numbers are not only arias. There are several duets, a couple of trios and Act II begins with a canon for 4 voices. The finale is a solemn and jubilant ciacona with all the participants involved – and we mustn’t forget the numerous instrumental numbers. The excellent ensemble Theresia, on historical instruments, is busy from the very beginning in the fanfare that opens the overture followed by a festive allegro – and there are many short interludes between the scenes, including a bourrée by Telemann and a sinfonia by Reinhard Keiser. Beyond this, most arias have preludes, sometimes quite extensive, and also postludes, so lovers of period instruments can wallow in the sounds. The penetrating tone of the oboe is frequently featured.
Most of the arias are rather simple. Da capo arias are non-existent, but most arias are reprised with the same text, sometimes even thrice – the second time usually decorated. There are several arias that can stand on their own, detached from the plot. Boris’ short and lively entrance aria, mentioned above, is one. Olivier Gourdy’s tone is lighter and more youthful than Adam’s while still conveying authority (CD 1 track 9). Another track to try is Theodorus’ moving lamentation near the end of Act I (CD 1 track 22). Yevhen Rakhmanin sings it very beautifully. The third excellent bass, Sreten Manojlović, sings Fedro’s lively aria with real gusto and lots of decorations (CD 1 track 24), followed by a brilliant postlude which ends the act.
The way-out Canon à 4 voices that opens Act II is also worth a listen (CD 1 track 25). Olga’s aria Alma mia! (CD 1 track 29) is beautifully articulated by Alice Lackner – and her technique is brilliant. Both tenors, Eric Price (Josennah) and Joan Folqué (Gavust) have beautiful voices, that are exposed to good effect towards the end of CD 1, in particular the gorgeous Will sich die Liebe rächen (CD 1 track 35) where Folqué negotiates the coloratura with great elan.
There is more excellence to come on CD 2. Irina’s aria Per seguire vano piacere (CD 2 track 4) is sung with bright, beautiful tone by Flore Van Meerssche, and her coloratura is impeccable. That also goes for Julie Goussot in the role of Axinia, Boris’ daughter, whose long aria Son più dolci (CD 2 track 18) is one of the highlights. Boris’ final recitative and aria (CD 2 track 26-27) and Irina’s Liebt jemand seine Qual (CD 2 track 30) are further gems, and there are many more. The plot unfolds logically; all the singers are involved and expressive – not least in the recitatives, which only occasionally feel overlong. The only criticism I have is that the many reprises in the arias halt the dramatic flow.
As I said earlier, the playing of Theresia under Andrea Marchiol is first class, but the balance brings out the orchestra too much to the detriment of the singers, which is a serious drawback. This should not, however, deter anyone with an interest in baroque opera from acquiring this set. Photos in the booklet reveal that this production stems from actual stage performances, but there are no signs of stage action, no applause, and I am happy it isn’t a DVD, since the photos show that it was one of those Regietheater concepts where the action was transported to present times.
Göran Forsling
Previous review: Mike Parr (January 2023)
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Other cast
Theodorus Iwanowitz, Yevhen Rakhmanin (bass)
Olga, Alice Lackner (mezzo-soprano)
Josennah, Eric Price (tenor)
Gavust, Joan Folqué (tenor)
