" Russian artists showed themselves worthy of this music. Chaliapin shook tragic power and startling realism in games and the scene of death, especially in the scene with the chimes, from which the viewer becomes a terrified: some stood up from their seats, trying to see the back of the stage delusional visions, which indicated Chaliapin – Boris. " No wonder critics mentioned by Shakespeare, emphasizing the features of its aesthetics, Renaissance, like Mussorgsky, which ingeniously guessed Diaghilev and the genius played Chaliapin. "The greatness of Chaliapin is just in his art of the tragic singer in a wonderful confluence of him singing with his game" – wrote Paul Dukas. He was seconded by Louis Schneider in "Theatre": "Chaliapin above any praise as a singer and above accolades as an actor. He is of equal in this unity. " "It is amazing artistic simplicity of interpretation, – noted on the pages of Le Figaro, Robert Brussels.
– The most pathetic and tense scenes became quite natural – so much convincing of the truth was in his transfer. " The remaining soloists almost as Chaliapin. Especially good was the Smirnov as a Pretender – a young, still little known in Russia, the owner of an amazingly beautiful tenor timbre. Tremendous enthusiasm among the public and caused widespread criticism of the scene. "Russian choir rocked us the power of performance, purity of intonation, flexibility and fidelity. They are also beautifully played, as they sing "- Pierre Lalo wrote in Tampa. "Each of the defendants or members of the chorus – this is an actor and a wonderful actor – has developed the same idea reviewer" Matin ".