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The Royal Opera

  • Jakub Hrůša

    Music Director

  • Oliver Mears

    Director of Opera

Boris Godunov

Opera in seven scenes

Wednesday 18 February 2026 7.30pm

The 19th 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.

Approximate Timings

Approximately 2 hours and 20 minutes, with no interval


A co-production with Deutsche Oper Berlin.

Credits

  • Music

    Modest Mussorgsky

  • Libretto

    Modest Mussorgsky

    adapted from the historical tragedy by Alexander Sergeyevich Pushkin

  • 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

    Zechariah King

  • 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

    Nick Mulroy

    Trinity School

  • Musical Director

    Richard Hammond Hall

    Woldingham School

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

The Royal Opera

  • 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

Synopsis

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.

Generous support from

Further information

Digital Cast Sheets

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Guidelines

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.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

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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