Abstract

Music
Haggin, B. H. | March 10, 1956 issue

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After a recent Metropolitan performance of "Boris Godunov" it seems that even if the artist produces no single work without flaws, yet the highest qualities attained in important parts of a great work are as indestructible by weaknesses elsewhere as if the weaknesses were the accidents of physical ruin. In "Boris," it does not matter that much of the scene in Pimen's cell is boring, or that much of the scene in Marina's garden is tawdry—they don't alter the quality of what is heard in the two scenes of the Prologue, the scene in Boris' apartment, and above all the three scenes of the last act.

See Also:

BORIS Godunov (Music); MUSIC; ARTISTS; PERFORMANCE art; MELODRAMA; AMUSEMENTS
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