Scenes of operatic madness have long been a focal point in European musicology, engendering extensive academic attention and discussion. The challenge of developing a typology of madness based on musical elements alone has led scholars to focus primarily on textual sources, especially librettos. This paper seeks to thoroughly analyse scenes of madness in Modest Mussorgsky's seminal work, Boris Godunov, examining both musical and textual elements.
A notable and novel aspect of this research is the initial analysis of madness in the male characters of Boris Godunov, particularly in the opera's final act. The methodological approach of this study is specifically designed to support this analysis. Surprisingly, the theme of the protagonist's madness has not previously been the sole focus of European scholarly publications. This research thus aims to establish a comparative framework for understanding 'male' madness in the operatic context of Boris Godunov.
Utilising textual analysis, musical examination, and historical context, this study aims to provide a detailed understanding of the persistent fascination with madness in opera. Furthermore, it seeks to articulate and clarify the broader implications of this thematic exploration for our comprehension of the complex aspects of the human psyche.