Boris Uvajdov Knigu

Early yearsEdit. Boris Godunov was the most noted member of an ancient, now extinct, Russian family of Tatar origin ( Chet ), which came from the Horde to Kostroma in the early 14th century. This legend is written in the annals dating from early 17th century. He was descended from the Tatar Prince Chet. Boris Petrovitch Uvarov was born in Ural'sk, in the Russian Empire (now Oral, Kazakhstan), the son of Pyotr P. Uvarov, a state bank employee, and his wife, Aleksandra. He studied biology in the Saint Petersburg State University, graduating in 1910. He worked as entomologist in Stavropol and put locust control on a sound scientific basis.

Mussorgsky in 1870 Original Version When, the sister of, 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. Consists of 25 scenes, written predominantly in. 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. Mussorgsky worked rapidly, composing first the 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. 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. However, the opera was rejected (10 February 1871) by a vote of 6 to 1, ostensibly for its lack of an important female role.

Lyudmila Shestakova recalled the reply made by conductor and stage manager of the in response to her question of whether Boris had been accepted for production: 'No,' they answered me, 'it's impossible. Dynacord usb audio driver. How can there be an opera without the feminine element?! Mussorgsky has great talent beyond doubt. Let him add one more scene. Pwm solar charge controller manual. Then Boris will be produced!' — Lyudmila Shestakova, in My Evenings, her recollections of Mussorgsky and, 1889 Other questionable accounts, such as Rimsky-Korsakov's, allege that there were additional reasons for rejection, such as the work's novelty: '.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.' — Nikolay Rimsky-Korsakov, Chronicle of My Musical Life, 1909 '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.' — 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 was rejected for production in 1883, the Imperial Opera Committee reputedly said: 'One radical opera by Mussorgsky is enough.' 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 with bass in the title role. Boris Godunov and the Imperial Family [ ] The reports of the antipathy of the Imperial family to Mussorgsky's opera are supported by the following accounts by Platonova and Stasov: 'During the [premiere], after the scene by the fountain,, a devoted friend of mine, but by the calumny of the members, the sworn enemy of Musorgsky, approached me during the intermission with the following words: 'And you like this music so much that you chose this opera for a benefit performance?'