A short article can hardly hope to do justice to the memory of Boris Christoff, the famous Bulgarian bass born in Plovdiv on May 18th...

A short article can hardly hope to do justice to the memory of Boris Christoff, the famous Bulgarian bass born in Plovdiv on May 18th 1914 who died in Rome on June 28th 1993. One could write endlessly about his career which began almost by chance after he graduated in law, or about his relationship with his teacher, the great baritone Riccardo Stracciari, or about his clashes with directors (for example in the 1948 version of Boris Godunov directed by Peter Broook) or colleagues (the 1956 Medea in Riome with Maria Callas). One could give a detailed description of his concept of art, of opera, of music and of life itself. But, alas space is short. Let us concentrate then, on this production of Khovatchina, recorded live at the Foro Italico on August 3rd 1958 in Rome during the then magnificent RAI seasons. It should be noted at once that this recording fills a most serious gap and brings us one of the key roles Christoff was to perform during his career. It is incomprehensible why he was made to record the complete edition of Mussorgsky's melodies - a monument to Christoff's art - two versions of Boris Godunov (in 1952 with Issay Dobrowen and ten years later with André Cluytens) but never his colorful interpretation of Dossifej. Khovanshchina was written between 1872 and 1880 in St. Petersburg, Russia. When the composer died in 1881, the opera remained unfinished and unperformed. The work deals with Russian history, particularly the rebellion of Prince Ivan Khovansky, the Old Believers, and the Muscovite Streltsy against the regent Sofia Alekseyevna and the young Tsars Peter the Great and Ivan V.