When a power vacuum opens up in Tsarist Russia, a ruthlessly ambitious prince conspires with the Streltsy militia and the schismatic Old Believers to usurp the throne.

Based on real life events surrounding the Moscow Uprising of 1682, Mussorgsky’s political thriller is a powerful portrayal of a country in crisis. This 2015 production by Moscow State Stanislavsky Music Theatre uses Shostakovich’s orchestration with a finale by Vladimir Kobekin.

Streamed live on OperaVision on 26 April 2019 at 19:00 CET and for 6 months: http://bit.ly/KhovanshchinaEN


Prince Ivan Khovansky: Dmitry Ulyanov
Prince Andrey Khovansky: Nikolay Erokhin
Prince Vasiliy Golitsin: Najmiddin Mavlyanov
Dosifey: Denis Makarov
Marfa: Ksenia Dudnikova
Boyar Fyodor Shaklovity: Anton Zaraev
Scrivener: Chingis Ayusheev
Emma: Maria Makeeva
Susanna: Natalia Muradymova
Kuzka: Dmitry Polkopin
Varsonofiev: Vladimir Svistov
Streshnev: Alexander Nesterenko
Golitsin’s myrmidon: Sergey Nikolaev
Streltsy: Kirill Kapachinskich & Maxim Osokin
A Voice: Daria Terekhova

Music: Modest Mussorgsky
Text: Modest Mussorgsky
Conductor: Alexander Lazarev
Director: Alexander Titel
Set Designer: Vladimir Arefiev
Costume Designer: Maria Danilova
Lighting Designer: Damir Ismagilov
Choreographer: Larisa Alexandrova
Chorus Master: Stanislav Lykov








  1. exquisite production. I enjoyed the persian dance performed on traditional instruments. I have not seen Prince Andrei acted better. I enjoyed the subtle allusions to deeper levels of debauchery (after all, in this opera there is no ”good” character). a sexy, alluring, mischievous and passionate Marfa, a multifaceted Dosifei. Ivan Khovanski a little bit too cringeworthy (there was a stubborn dignity in the way Ghiaurov portrayed him, not to mention the outlandish arrogance portrayed by Vedermikov). the guy singing Shaklovity hits the notes, but his acting is way too one-dimensional (that boyar was way more than a mafia thug). I liked the brisk tempi in some scenes, but the final aria of Dosifei I prefer a little slower (Gergiev is brilliant with it accompanying Vladimir Vaneev). beautiful and innovative stage direction. last but not least, oh man, that glee on the face and in the voice of Streshnev… a whole lot to see here for those who love this masterpiece.

  2. This was a beautiful production. Wonderfully staged, amazing music and beautifully sung. The camera work was also outstanding. Bravo to this company

  3. Великолепный,хорошо выстроенный спектакль..каждый предмет на сцене играет..поразил Антон Зараев (Шакловитый).. голос,актерская игра..как Антону удалось показать силу,коварство своего персонажа..всей команде БРАВО!!!

  4. I had not heard very much of Stanislavsky before. Yesterdays performance was a revelation. What a great ensemble. Beautiful voices from the major roles to the comprimarii. Refreshing to see that Marfa and Dossifej were sung by also convincingly acting singers in their prime, and not by veterans, which you find so often. If I compare it with the famous Vienna production of 1989 with Ghiaurov, I find this production even more interesting, with a couple of unconventional surprises. And I fully second Robert's statement: This is living opera of today at its best. High praise for the outstanding chorus and orchestra. One was also very much drawn into the action by the excellent camera work that sometimes took the viewer to the middle of the stage. In total: Another gem in the crown of OperaVision and naturally Stanislavsky theater. Bravi to all and thank you so much for having made this transmission possible.

  5. Listened to and viewed the live Premiere on April 27 2019. A terrific performance from the Stanislavsky company. No longer are Russian performances of opera merely a showcase for beautiful voices and opulent scenery. This was living theatre: involving and alive. And the voices? As beautiful as ever. Mafra, I love you!


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