Arnold Bezuyen

Like Shakespeare’s Macbeth, Boris Godunov is capable of murder in pursuit of power. When Boris’s political opponents substitute a pretend descendant of the previous tsar, the so-called Pretender, to stage a coup d’état, Godunov, tormented by remorse, is certain that it is the reincarnation of his victim who, like an angel of vengeance, has come to take his life. Based on a play by Aleksandr Pushkin about the real-life Boris Godunov, the opera traces the life of the Russian Regent during the Time of Troubles in the late 16th century, from his coronation to his death. This sombre tragedy is about the cries of a nation, the scheming of those in power and the anguish of Boris himself. The music is richly modern, and filled with innovative harmonies based on Russian folk songs and traditional Russian Orthodox church music, and is considered the pinnacle of Russian opera.

Since the 1990s, Christoph Marthaler and his congenial stage and costume designer Anna Viebrock have caused a sensation with highly musical and atmospheric productions of plays and operas. It was only a matter of time, then, before this directing team was also invited to the Bayreuth Festival. Marthaler's style of radical deceleration proved ideally suited to Wagner's Tristan und Isolde in this production – with Viebrock's sober yet poetic sets – unveiled in 2005. In the 2009 revival documented here, Robert Dean Smith and Iréne Theorin were joined in the title roles by Robert Holl, one of the great basses of his generation, who sang the role of King Marke.