_Boris Godounov_ was rejected by the Direction of Imperial Opera on the ground that it gave too little opportunity to the soloists. The unusual form of the opera, the bold treatment of a dramatic, but unpopular, episode in national history, and the democratic sentiment displayed in making the People the protagonist in several scenes of the work, were probably still stronger reasons for the attitude of disapproval always shown by the "powers that be" towards _Boris Godounov_. Very unwillingly, yielding only to the entreaties of his friends, the composer consented to make some important changes in his work. The original plan of the opera consisted of the following scenes: The crowd awaiting the election of Boris, and his Coronation; Pimen in his cell; the scene in the Inn, on the Lithuanian frontier; Boris and his children, and the interview with Shouisky; the scene in the Duma, and the death of Boris; the peasant revolt, and the entry of the Pretender. It will be seen that the feminine element was curiously neglected. The additional scenes, composed on the advice of Stassov and the distinguished Russian architect V. Hartmann, were partially designed to rectify this omission. They include the scenes in the house of the Polish grandee Mnishek; the song of the Hostess of the Inn; portions of the first scene of Act I.; the episodes of the Chiming Clock and the Parrakeet; also some fine passages in the scene between Pimen and Gregory (Scene I, Act II.). Portions of _Boris_ were given at Kondratiev's benefit, at the Maryinski Theatre, in February, 1873, but the production of the opera in its entirety was delayed until January 24th, 1874. How often has Stassov described to me the excitement of the days that followed! The old-fashioned subscribers to the Opera sulked at this interruption to its routine; the pedants of the Conservatoire raged; the critics--Moussorgsky had already satirised them in "The Peepshow"--baffled, and consequently infuriated, "foamed at the mouth." So stupid were the intrigues organised against _Boris_ that some wreaths offered by groups of young people and bearing messages of enthusiastic homage to the composer, were intercepted at the doors of the opera house and sent to Moussorgsky's private residence, in order to suppress a public recognition of his obnoxious genius. For it was the young generation that took _Boris_ straight to their hearts, and in spite of all organised opposition, the work had twenty performances, the house being always crowded; while students sang the choruses from the opera as they went home through the streets at midnight. [Illustration: SHALIAPIN AS BORIS GODOUNOV]