The Coronation Scene from Boris Godunov: Opera’s Biggest Spectacle?

Boris Godunov
Tsar Boris Godunov

From its origins in medieval and Renaissance courtly entertainment, opera has always been partly rooted in spectacle. Nineteenth century French grand opera used large casts, expanded orchestras, grandiose scenery, consumes and special effects, and ballet to bring to life epic heroic tales based on historical subjects. (Meyerbeer’s five-act Les Huguenots from 1836 is an example.) A sense of theatricality and spectacle is at the heart of the Triumphant March from Verdi’s Aida, set in ancient Egypt.

History (this time recent) became mythologized in a similar way in John Adams’ 1987 opera, Nixon in China. Early in the first act, the landing of Nixon’s Air Force 1, dubbed the Spirit of ’76, and the appearance of the president and his entourage, take on Wagnerian weight. In Adams’ music, we can hear the plane emerge as a dot on the horizon and approach with an awe-inspiring crescendo, culminating in a heroic landing. The aircraft’s throbbing engines become as poetically powerful and significant as Lohengrin‘s swan. Spectacle takes center stage, literally, as the nose of the Spirit of ’76 suddenly engulfs the entire set.

But when it comes to the ultimate musical and dramatic fireworks, I can’t think of any moment in opera that tops the Coronation Scene from Modest Mussorgsky’s Boris Godunov, composed between 1868 and 1873. (If you can find an opera scene that pulls out more stops, please share it in the thread below.) As with the arrival of the Spirit of ’76 in Nixon in China, the Coronation Scene occurs early in Boris Godunov (the second scene of the Prologue). Both dramatic events are heightened by a powerful sense of anticipation. A crowd waits for Tsar Boris to appear from Moscow’s Cathedral of the Dormition and then sings his praises.

Suddenly, amid this celebratory spectacle, we’re drawn into the intimacy of Boris’ monologue. We enter the mind of the character and catch a glimpse of the darkness and tragedy ahead. A similar moment of contemplation occurs in Nixon in China as Nixon daydreams about public perception and his place in history. 

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  • Find a recording of Boris Godunov at iTunes, Amazon.
  • Here is the complete synopsis of the opera.
  • Valery Gergiev’s performance of the Coronation Scene.
  • a 1947 historic performance from Moscow’s Bolshoy Theater


Wagner’s Musical Kaleidoscope

Unknown-6Javelin…Michael Torke (b. 1961)

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In my last post we explored a fun, eight minute piece called Javelin by contemporary American composer, Michael Torke.  I asked you to pay attention to the rich orchestral colors in the music.

Now go back and listen a few more times to pick up some new details.  Do you hear bright, shimmering colors?  Do you feel swept along by the music’s motion?  Maybe the leaps and falls of the woodwind and string lines suggest flowing, rippling water or crashing waves?  In the comment thread, one listener heard “a fast moving movie,” constant surprises, and allusions to the music of John Williams (who also wrote music for the Olympics).

In this piece (and other music of Torke) fleeting, momentary cartoon-like references to John Williams, Beethoven, Ravel and other music pop up and then disappear back into a great musical melting pot.  These moments function as musical signifiers.

In his program notes, here is what Michael Torke wrote about the piece:

“I had three goals in mind when I began this piece for the Atlanta Symphony’s anniversary: I wanted to use the orchestra as a virtuosic instrument, I wanted to use triads (three-note tonal chords), and I wanted the music to be thematic. I knew I would welcome swifter changes of mood than what is found in my earlier music. What came out (somewhat unexpectantly) was a sense of valor among short flashes and sweeps that remined me of something in flight: a light spear thrown, perhaps, but not in the sense of a weapon, more in the spirit of a competition. When the word javelin suddenly suggested itself, I couldn’t help but recall the 1970s model of sports car my Dad owned, identified by that name, but I concluded, why not? Even that association isn’t so far off from the general feeling of the piece. Its fast tempo calls for 591 measures to evoke the generally uplifting, sometimes courageous, yet playful spirit.”

Prelude to Act 1 of Lohengrin…Richard Wagner (1813-1883)

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This music opens Wagner’s opera, Lohengrin.  One of the most influential composers of the Romantic period, Wagner was innovative in the way he used (and enlarged) the orchestra.

The Prelude grows out of (and at the end returns to) a single A Major chord.  Listen to the way the chord changes in color as sections of the orchestra (strings, woodwinds, and brass) merge in and out, like a musical kaleidoscope.  In these moments, it is the pure sound you want to enjoy.

As the music unfolds, what kind of motion do you sense?  How is it similar or different to Torke’s Javelin? Pay attention to the instruments in the opening of the piece.  Do you hear mostly high or low pitches?  As the music progresses, do you notice any gradual change?  Is there a large-scale shape unfolding in the music?  If there is, how is Wagner achieving this?