Boris Godunov - Teatro Colón 2006 - Anatoly Kotcherga 3 - Foto de Arnaldo Colombaroli
The aesthetics of Diego Siliano’s stage designs were agreeable though hardly Russian; a silhouette of a cathedral was as far as he went. But (more to cut costs than for artistic reasons) we saw a unit set of a variegated wall used in different combinations and parts to represent such disparate things as a tavern, a monk’s cell, a Polish palace, etc. Of course costume designer Daniela Taiana had to comply to Pontiggia’s excentric translation of the action to the 1800s; her costumes were mostly adequate though some didn’t look rich enough. Good lighting by Rubén Conde.
The conducting by Stefan Lano was clear, with rather slow and morose tempi, certainly logical but lacking expansion and emotional communication; the Orchestra played quite well. Excellent work from the Colón Chorus (Salvatore Caputo) and the Children’s Chorus (Valdo Sciammarella).
There was a solid double cast: Anatoly Kotcherga (debut) did Boris with a fine bass voice used with authority and a massive presence; and Mijail Kit gave us a leaner, older Boris , done with fine professionalism. Except from some tense high notes, both Kit and Feódor Kuznetsov sang admirably as the monk Pimen. I was agreeably surprised by the aplomb and intensity of Enrique Folger as the false Dimitri who will usurp the throne; Fernando Chalabe was correct, no more. We had fine Marinas (the Polish Princess): Cecilia Díaz and Virginia Correa Dupuy. Luis Gaeta was splendidly truculent as the mendicant monk Varlaam; Hernán Iturralde sang well but was less of a character. Ariel Cazes was more convincing as the devious Jesuit Rangoni than the exaggerated Lucas Debevec Mayer. Carlos Bengolea and Gabriel Renaud dealt well with the slimy ambiguity of their Boyar Shuisky. Good jobs from (among others) Ana Laura Menéndez and María José Dulín, Elisabeth Canis and Alicia Cecotti, Omar Carrión and Leonardo Estévez, Renaud and Eduardo Ayas (as Misail), Graciela Alperyn and Marcela Pichot. Osvaldo Peroni and Gabriel Centeno sang well as the Innocent but didn’t catch his peculiar anguish.
As the Innocent sang his final lament, I thought of the pain of the Russian people though the centuries and I wished them well for the future.
23/11/06 para el Buenos Aires Herald
Boris Godunov - Teatro Colón 2006 - Prólogo 2 b - Foto Miguel Micciche