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The Royal Opera
Music Director
Jakub Hrůša
Director of Opera
Oliver Mears

Boris Godunov

Opera in seven scenes

Cast sheet

Wednesday 4 February 2026

|

7.30pm

The 16th performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing Trust 

Generous philanthropic support from Fondation Socindec and Crevan O'Grady and Jane McClenahan

The words Rolex in green capital letters with a gold crown sitting above the words

Rolex, Principal Partner, The Royal Opera

A co-production with Deutsche Oper Berlin.

Approximate timings

Approximately 2 hours and 20 minutes, with no interval
Credits

Music

Modest Mussorgsky

Libretto

adapted from the historical tragedy by Alexander Sergeyevich Pushkin

Modest Mussorgsky

Conductor

Mark Wigglesworth

Director

Richard Jones

Revival Director

Ben Mills

Set designer

Miriam Buether

Costume designer

Nicky Gillibrand

Lighting designer

Mimi Jordan Sherin

Movement director

Ben Wright

Revival Movement Director

Danielle Urbas

The edition of Boris Godunov used in this performance is the revised edition by Michael Rot published by Verlagsgruppe Hermann. Performed by arrangement with Schott Music GMBH & CO. KG
Cast

Boris Godunov

Bryn Terfel

Prince Shuisky

John Daszak

Pimen

Adam Palka

Grigory Otrepiev

Jamez McCorkle

Varlaam

Alexander Roslavets

Andrei Shchelkalov

Andrii Kymach

Holy Fool

Mingjie Lei

Xenia

Hannah Edmunds

Missail

Alasdair Elliott

Hostess of the Inn

Susan Bickley

Frontier Guard

Freddie Tong

replaces Alexandros Stavrakakis

Nikitich

Eddie Wade

Mityukha

Sam Hird

Xenia's Nurse

Carolyn Holt

Boyar

Christopher Lemmings

Fyodor

Robert Berry-Roe

Actors

Charles Blyth, Barry Callan, Chris Edgerley, Jamie Francis, Nicholas Frentz, Tom Levermore, Audrey Page, Christopher Palmer, Laurence Pasqualini, Suleiman Suleiman, Addis Williams, Timo William

Hannah Edmunds and Sam Hird are Jette Parker Artists
Chorus and Orchestra

Chorus

Royal Opera Chorus

Chorus Director

William Spaulding

Orchestra

Orchestra of the Royal Opera House

Concert Master

Magnus Johnston

Children's Chorus

Trinity School, Woldingham School

Musical Director

Trinity School

Nick Mulroy

Musical Director

Woldingham School

Richard Hammond Hall

Extra Chorus

Sopranos

Eleanor Garside, Kathryn Jenkin, Bernadette Lord, Elizabeth Roberts, Eryl Royle, Rosalind Waters, Lisa Wilson, Vanessa Woodfine

Mezzo-sopranos

Jeanette Ager, Siobhan Gibson, Zoe Haydn, Frances Jellard, Clare McCaldin, Jennifer Westwood

Tenors

Robert Amon, Phillip Bell, Simon Biazeck, Phillip Brown, Andrew Busher, Mark Chaundy, Jon English, Darrell Forkin, Andrew Friedhoff, James Geer, Nick Hardy, Richard Monk, Rory O'Connor, Alex Wall

Basses

Stephan Alder, James Birchall, Gabriel Gottlieb, Gavin Horsley, John Morgan, John Morrissey, Simon Preece, Jochem Van Ast, Peter Willcock, Jonathan Wood

Production credits

Music preparation

Christopher Willis, Susanna Stranders, Aleksandra Myslek, Richard Hetherington, Nick Fletcher

Assistant Director

Dan Dooner

Language Coach

Sasha Naoumenko

Fight Director

Bret Yount

Patron

HM The King

Music Director

Jakub Hrůša

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Associate Director

Netia Jones

Administrative Director

Cormac Simms

After the death of Ivan the Terrible, the boyar Boris Godunov was appointed regent – Ivan’s older son, Tsar Fyodor,...

SCENE 1

Boris Godunov has retreated to the Novodevichy Monastery. A crowd gathers outside, and a policeman orders them to entreat Boris to accept the throne. Shchelkalov, clerk of the Boyars’ Council, tells the crowd that Boris is reluctant to take the throne. Pilgrims join the entreaties to Boris.

SCENE 2

Boris is crowned Tsar. Boris invites everyone to a great feast. Years pass. Russia prospers, and Boris proves to be a good and wise ruler. Then, unexpectedly, there is famine. Some believe that this is divine punishment for Boris’ alleged murder of Tsarevich Dmitry.

SCENE 3

In the Kremlin, the monk Pimen is writing a chronicle of Russian history. The novice Grigory regrets his choice of career and envies Pimen’s eventful youth. Pimen reminisces about Ivan the Terrible and Ivan’s son Fyodor. He denounces Boris as Tsarevich Dmitry’s murderer. Hearing that Dmitry resembled him and was about his own age, Grigory plots to impersonate the Tsarevich and stir up rebellion.

SCENE 4

Grigory (now in secular clothes) arrives at an inn near the Lithuanian border with the monks Varlaam and Missail. Guards arrive, searching for a fugitive rebel monk (Grigory). When Grigory realizes that the Frontier Guard cannot read, he reads out the edict, describing the fugitive as resembling Varlaam, rather than himself. Varlaam protests his innocence, and reads the edict correctly. Grigory escapes.

SCENE 5

In the Tsar’s apartments, Boris’s daughter Xenia laments the early death of her fiancé, while her brother Fyodor studies a map of Russia. Boris reflects on his achievements as ruler. Prince Shuisky announces that a Pretender, calling himself the Tsarevich Dmitry, is gathering support in Lithuania. Boris orders Shuisky to seal the border and asks for proof of Dmitry’s death. Shuisky confirms that he saw Dmitry’s corpse, but suggests that it may have miraculous powers. Boris orders Shuisky to leave. Alone, he hallucinates visions of the dead Dmitry.

SCENE 6

Outside St Basil’s Cathedral, the crowd comments on the official denunciation of the Pretender Grishka (Grigory) Otrepiev that they have heard at Mass. A Holy Fool sings a nonsensical song. Boris and his retinue leave the Cathedral and the hungry crowd begs for bread. The Holy Fool suggests Boris ordered the murder of Tsarevich Dmitry. Shuisky demands the Holy Fool’s arrest, but Boris instead asks the Holy Fool to pray for him. The Holy Fool refuses to pray for ‘Tsar Herod’ and laments the fate of Russia.

SCENE 7

At the Kremlin, Shuisky and the Boyars’ Council order the execution of Grigory and his followers. Boris appears, still in the grip of his hallucination. Pimen informs Boris that the Tsarevich Dmitry has become a saint from beyond the grave, and cured an old man’s blindness. Boris collapses and calls for his son Fyodor. He names Fyodor as his heir, begs forgiveness and dies.

Guidance
Parental guidance recommended
Themes of child murder from the outset
Language
Sung in Russian with English surtitles, which are displayed on screens above the stage and around the auditorium.
Further information

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria.

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

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Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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