Thus is Opernhaus Zürich’s current production of Boris Godunov making history, particularly in an industry hard hit by a steady stream of COVID19 cancellations. In the era of the coronavirus pandemic, opera is not, as Opernhaus Zürich and others across continental Europe seem to imply, a gold-threaded frill but a sturdily-sewn hem, one comprised of the common threads of community, communication, and not least, creativity. The project is unusual for not only its unique presentation (singers in house orchestra and chorus down the street) but for the fact it’s happening at all at a time when live performance is being set firmly to the side, the production of an opera – any opera, but particularly one as demanding as Mussorgsky’s 1874 opera, based on Pushkin’s (written in 1825 but only presented in 1866), produced here with the immense Polish scene – feels like a strong statement for the centrality of live classical music presentation within the greater quilt of life and the good, full, thoughtful and varied living of it. The production, directed by Barrie Kosky and conducted by Kiril Karabits, also features bass Brindley Sherratt as the thoughtful monk Pimen and tenor John Daszak as calculating advisor Shuisky. Boris Godunov runs at Opernhaus Zürich September 20th through October 20th for six performances only, with baritone Michael Volle making his role debut as the titular czar.

Please do not reproduce without permission.Īgainst the odds – or perhaps because of them – opera is making a welcome in some parts of Europe.

Rare oedipe paris opera together