By David Stevens

TOULOUSE, France - Mussorgsky's "Boris Godunov" is a kind of archaeological work in progress. The composer's first version was not performed at all for almost 60 years after its initial rejection, but it seems to be coming into its own as the version of choice in the theater.

The 1869 original is taut and somber, seven scenes ending with the death of Boris. The Maryinsky Theater objected to the lack of an important feminine role, and the 1872 revision included the Polish act and a new ending. These are separate works, without even getting into the prickly question of orchestration.

Nicolas Joel, artistic director of the Theatre du Capitole here, cast his vote for Mussorgsky's first thoughts with a new production that was strongly cast, beginning with José van Dam's beautifully sung and deeply felt portrayal of the anguished czar.

Joel's production, physically lean and virtually without historical references, is played out on an almost bare stage with minimal furniture, so that the costumes of Gerard Audier and the lighting by Claude Beringuier were more than incidental.

The timelessness of this story of political intrigue and remorse is stressed in various ways. In the coronation scene, van Dam as Boris stands amid the crowd, modestly garbed, beneath an ornately gowned dummy monarch who descends from the flies.