Stellar performance of Russia's National opera masterpiece!!
Let's start with the quibbles, on account of their relative insignificance: 1) I miss the real bells used on the Gjórgiev (especially!!!) and the Abbado recordings (the samples I got to hear alerted me to this - the chimes used here sound poor by comparison); 2) the Russian original-language libretto is incomplete (were more space allowed here, I'd have published the missing parts in the original Russian). [I recommend downloading the libretto from other websites - and then piecing in the few things that are otherwise absent from the regular-performance libretto from the booklet supplied - Rostropóvich's reading gives this opera (a composite of the 1868 and 1872 versions) as completely as possible (the réprise of the Simpleton's scene in the last tableau, originally salvaged from the St. Vasíljiy's (Basil's) tableau cut in the 1872 version and which however was reinstated in this recording, could have been omitted consequently - though I'm glad it wasn't!).] 3) I wish the orchestra (very good indeed!!!) could be heard more even when the singers are in full voice (this defect relative to Culshaw's Wagner recordings - my standard in taste - also afflicts Rostropóvich's otherwise superb recording of Shostakóvich's "Lady Macbeth of Mcjénsk").

Otherwise, a very powerful reading with everybody in peak form fully deserving a full 5 stars - even the venerable arch-star of Russian soprani from 1952-82 (from her début with the Boljshóy to her retirement from live operatic performances - of course she was forced out of the Boljshóy in 1974 into exile...) Vishñévskaja, who was close to being 61 years of age at the time of this recording, comes off as well as everybody else (you could hardly tell her age)! Another success is that of Mira Zakai as one of the nurses (in Act II) - she's much better here than in Solti's recording of Mahler's 2nd Symphony with the CSO (where she sounds so uninvolved as well as plain when compared to Helen Watts or Maureen Forester). Gedda sings the Simpleton's part as movingly as could be anticipated from somebody who has given so much of his career to the Russian repertoire, while Plishka gives a wonderfully warm Pimjén. As to Ruggero Raimondi - wow, what a wonderfully evocative portrayal of the demented Carj (C pronounced as 'ts' like in "bolts"; 'j' just softens the 'r' somewhat...)!!! One doesn't need a bassus profundus (which he's not - though his low notes lack nothing!) to do justice to this rôle after all...

Finally, regarding the version of the score being used: while it's indeed based on the 1872 "definitive" version, much stuff cut therefrom which was in the 1868 original version makes it into the recording (not a note is cut from the score). While obviously the earlier version of Act II as well as a few other snippets in Act I (when Grigóriy wakes up) are superseded (the latter's snippets are merely the same music given to offstage choir instead of the strings as done initially), other things (e.g., the dismissal of the crowd in the Prologue's 1st scene, the scene in front of St. Vasíljiy's Cathedral) are fully reinstated - all of this can be vouched for from the full score 2-book set published by Oxford University Press giving Musórgskiy's original version.

Most definitely recommended in all events and regards!!! [Hopefully Erato will reissue this recording as it's amply deserving!]

a solid, exciting production, supurb sound
Mussorgsky's Boris Godunov is so rich that it never can be encompassed by one interpretation, however strong. It's worth having two or more versions, including this one, conducted by Rostropovitch, on hand. Here's how it stacks up with two other fine quality, stereo recordings using Mussorgsky's original orchestration: Abbado's and Gergiev's.

Rostropovitch and the ensemble under his baton, provide both a polished orchestral presentation and dynamic drama dominated by one of the best Borises of the digital age. The story and the music reinforce one another seamlessly.

The dramatic presentation in the Rostropovitch version is much more exciting than that in the Abbado version, which focuses more on creating a flawlessly recorded, stunning symphonic and choral atmosphere. In the Rostropovitch version, beautiful children's voices add both an innocent element to Mussorgsky's dark drama and another stunning instrument to the orchestration. In the perfectly polished Abbado version, adult women with full voices flawlessly sing the children's roles.

Rostropovitch's production lacks some of raw dramatic heft of Gergiev versions, but it has more polish. The Gergiev CD set offers two complete versions, both Mussorgsky's 1868 version and the 1873, each complete and with different casts, making it a bargain, if such a thing can be said about overpriced classical music CDs. The Rostropovitch version contains only the 1872 score.

I have all three versions and listen to all of them with great pleasure. If, heaven forbid, I could only have one, this version conducted by Rostropovitch might be it. It would be a tough call to make.