(Act 1, Scene 1) Yaroslavna's palace (Act 1, Scene 2) Escape (Act 3) Return (Act 4) Sokhor assessed the plan as not written later than 1883. The 1993 recording of Prince Igor by Valery Gergiev with the Kirov Opera features a new edition of the score with additions commissioned from composer Yuri Faliek for a production at the Mariinsky Theatre, adopting this hypothetical original sequence. The authors of the notes to the recording assert that this order better balances the musical structure of the score by alternating the acts in the Russian and Polovtsian settings with their distinctive musical atmospheres. Despite this justification, there is reason to maintain the traditional sequence. Act II contains most of the numbers for which the work is known today, with Igor's brooding and impassioned aria ("Oh give me freedom") at the center, flanked by Vladimir's cavatina and Konchak's aria, not to mention the rousing conclusion provided by the Polovtsian Dances. Moving its wealth of arias and dances from the center of the work to near the beginning may weaken the opera's structure. The "Mariinsky edition" makes other important changes and additions to the score. Although much of the material composed or orchestrated by Glazunov and Rimsky-Korsakov is retained, there are additions culled from the unpublished vocal score by Pavel Lamm, orchestrated and linked by Faliek. The changes include: About 200 bars added to the scene in Yaroslavna's palace which make explicit Galitsky's rebellion Various additions and removals from Act 3, including the restoration of a monologue for Igor composed by Borodin in 1875. A review in Gramophone highlights how the newly added monologue "helps to give a weighty focus to Act 3, otherwise a phenomenal feat of reconstruction on Glazunov's part, but somehow insubstantial". A different final chorus for Act 4, "Glory to the multitude of stars", a repeat of material from the Prologue. This idea is historically justified, as Borodin had originally placed this chorus at the end of the opera in the form of an epilogue [see the quote by Rimsky-Korsakov above under Composition history]. This regrettably necessitates the elimination of Borodin's subsequent chorus, "God heard our prayers". In the West, the opera has often been given in languages other than Russian. For example, the 1960 recording under Lovro von Matačić is sung in German, the 1964 recording under Armando La Rosa Parodi is in Italian and the 1982 David Lloyd-Jones recording