The operas of Sergei Prokofiev:
The operas of Sergei Prokofiev (1891-1953) mark a significant contribution to twentieth-century music and theatre. Opera was Prokofiev's preferred genre; not counting juvenile and unfinished works, he wrote a total of eight. Yet, to date, little has been published about the context, rationale o...
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| Format: | Buch |
| Sprache: | English |
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Woodbridge
The Boydell Press
2020
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| Zusammenfassung: | The operas of Sergei Prokofiev (1891-1953) mark a significant contribution to twentieth-century music and theatre. Opera was Prokofiev's preferred genre; not counting juvenile and unfinished works, he wrote a total of eight. Yet, to date, little has been published about the context, rationale or musical and compositional processes behind this output. While systematic studies of Prokofiev's symphonies and his ballets exist, the operas have come under no such scrutiny. This book is the first in the English language to engage with the composer's operatic output in its entirety and provides a contextual, critical and musico-analytical account of all of Prokofiev's operas, including those juvenile works that are unpublished as well as the incomplete works composed towards the end of his life. It also includes synopses of the operas. Drawing on a wealth of archival material and other sources, the book provides the compelling untold story of Prokofiev the opera composer.CHRISTINA GUILLAUMIER is a pianist and music historian with an early background in the dramatic arts. She is Head of Undergraduate Programmes at the Royal College of Music. Her research interests include Russian and Soviet music and opera, piano music and genetic criticism. She is the recipient of several research awards including from the Arts and Humanities Research Council (AHRC), the European Union, the American Musicological Society and the Russian Federation. Recent publications include a co-edited series of landmark essays entitled Rethinking Prokofiev. (Quelle: https://www.amazon.de/dp/1783274484) |
| Beschreibung: | 286 Seiten 6 Illustrationen, 5 Portraits, Notenbeispiele |
| ISBN: | 9781783274482 |
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| 520 | |a The operas of Sergei Prokofiev (1891-1953) mark a significant contribution to twentieth-century music and theatre. Opera was Prokofiev's preferred genre; not counting juvenile and unfinished works, he wrote a total of eight. Yet, to date, little has been published about the context, rationale or musical and compositional processes behind this output. While systematic studies of Prokofiev's symphonies and his ballets exist, the operas have come under no such scrutiny. This book is the first in the English language to engage with the composer's operatic output in its entirety and provides a contextual, critical and musico-analytical account of all of Prokofiev's operas, including those juvenile works that are unpublished as well as the incomplete works composed towards the end of his life. It also includes synopses of the operas. Drawing on a wealth of archival material and other sources, the book provides the compelling untold story of Prokofiev the opera composer.CHRISTINA GUILLAUMIER is a pianist and music historian with an early background in the dramatic arts. She is Head of Undergraduate Programmes at the Royal College of Music. Her research interests include Russian and Soviet music and opera, piano music and genetic criticism. She is the recipient of several research awards including from the Arts and Humanities Research Council (AHRC), the European Union, the American Musicological Society and the Russian Federation. Recent publications include a co-edited series of landmark essays entitled Rethinking Prokofiev. (Quelle: https://www.amazon.de/dp/1783274484) | ||
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Contents List ofIllustrations ix Acknowledgements xi Note on transliteration, abbreviations and sources xii Introduction: Prokofiev and Opera і 1 Early Operatic Experiments and Maddalena 9 2 Between Opera and Theatre: Radicalisation of Style in The Gambler 33 3 4 A Successful Enterprise: Love for Three Oranges The Devil Within: Theatre and Spectacle in The Fiery Angel 56 79 5 Towards a Soviet Operatic Style: Semyon Kotko 119 6 Betrothal in a Monastery and the Retreat from Ideology 149 7 8 War and Peace: The Prokofievan Operatic Ideal? Dramaturgical Re-evaluation in The Story of a Real Man 17г 211 Epilogue 238 Synopses 249 Bibliography 265 275 Index
Bibliography EDITIONS OF VOCAL SCORES REFERRED TO IN THE TEXT [LISTED IN CHAPTER ORDER] Maddalena Op. 13, London: Boosey and Hawkes (1990) The Gambler Op. 24, St Petersburg: Compozitor Publishing House (2015) Lovefor Three Oranges Op. 33, St Petersburg: Compozitor Publishing House (2004) The Fiery Angel Op. 37, Moscow: Muzyka (1981) Semyon Kotko Op. 81, Moscow: State Music Publishing House (i960) The Duenna Op. 86, St Petersburg: Compozitor Publishing House (2007) War and Peace Op. 91, St Petersburg: Compozitor Publishing House (2009) The Story of a Real Man Op. 117, Moscow: State Music Publishing House (1962). WORKS CONSULTED Albright, Daniel, Untwisting the Serpent: Modernism in Music, Literature, and Other Arts (Chicago, IL: University of Chicago Press, 2000). Ansimov, G. P., Sergei Prokof'ev: Tropoiu opernoi dramaturgii: Rezhisserskie prikosnoveniia (Moscow: GITIS, 1994). Asaf’ev, Boris Vladimirovich, Liubov' k trem apeľsinam. Opera S. Prokofeva. Staťi: B. V. Asafeva, V. A. Dranishnikova i S. Е. Radlova (Leningrad: Izdanie LenGosAkadTeatra, Opery i Baleta, 1934). Atovmian, Lev, Ѵоіио i mir: Perelozhenie dliapeniia sfortepiano (Moscow: Gosudarstvennoe muzykaľnoe izdateľstvo, 1958). Bärtig, Kevin, Sergei Prokofiev's Alexander Nevsky (New York, NY: Oxford University Press, 2017). Boganova, Tatiana Vasiľevna, Natsionaľno-russkie traditsii v muzykę S. S. Prokofieva (Moscow, 1961). Botstein, Leon, ‘Beyond Death and Evil: Prokofievs Spirituality and Christian Science’, in Sergey Prokofiev and His World, ed. Simon Morrison (Princeton: Princeton University Press, 2008), 551-55.
Braun, Edward, The Theatre of Meyerhold: Revolution and the Modern Stage (1979; repr. London: Methuen, 1986). Brown, Malcolm H., ‘Prokofiev’s “War and Peace”: A Chronicle’, Musical Quarterly 63, no. 3(1977): 297-336.
2 66 BIBLIOGRAPHY Bryusov, Valery, The Fiery Angel, trans. Ivor Montagu and Sergei Nalbandov (Sawtry: Dedalus, 2005). Bulychova, Anna 'Podlinnaia biografiia opery “Povesť о nastoiaschchem cheloveke”: istorila sozdaniia, vospriiatie, interpretatsii’, in Sergei Prokofev, Pis’ma, Vospominaniia, Stat’i (Gosudarstvennyi tsentral’nyi muzei muzykaľnoi kuľtury, Moskva, 2007): 179 -223. Christian, Reginald R, Tolstoy: A Critical Introduction (Cambridge: Cambridge University Press, 1969). Clark, Katerina, Moscow, the Fourth Rome: Stalinism, Cosmopolitanism, and the Evolution of Soviet Culture, 1931-1941 (Cambridge, MA: Harvard University Press, 2011). The Soviet Novel: History as Ritual, 3rd edn (Bloomington: Indiana University Press, 2000). --, Dan'ko, Larisa Georgievna, Teatr Prokofeva v Peterburge (St Petersburg: Akademicheskii proekt, 2003). Dimova, Polina, ‘The Sun-Sounding Scythian: Prokofiev’s Musical Interpretations of Russian Silver-Age Poetry’, in Rethinking Prokofiev, ed. Rita McAllister and Christina Guillaumier (Oxford: Oxford University Press, 2020), 129-52. Dostoyevsky, Fyodor, The Gambler, trans. Constance Garnett (New York: Dover, 1996). Ermolaeva, Katya, ‘Prokofiev s First Version of War and Peace: Lyrico-dramatic Scenes on the Novel by L. N. Tolstoy, op. 91 (1942)’ (Ph.D. thesis, St Andrews University, 2018). Fairclough, Pauline, Classics for the Masses: Shaping Soviet Musical Identity Under Lenin and Stalin (New Haven, CT: Yale University Press, 2016). ------ , ‘Was Soviet Music Middlebrow? Shostakovich’s Fifth Symphony, Socialist Realism, and the Mass Listener in
the 1930s’, Journal of Musicology, 35(3), 336-67. https://doi. org/io.i525/jm.20i8.35.3.336 Frolova-Walker, Marina, ‘Russian Opera: Between Modernism and Romanticism’, in The Cambridge Companion to Twentieth-Century Opera, ed. Mervyn Cooke (Cambridge: Cambridge University Press, 2005), pp. 181-96. ------ , ‘The Soviet Opera Project: Ivan Dzerzhinsky vs. Ivan Susanin’, Cambridge Opera Journal 18, no. 2 (2006): 181-216. ------ , Stalins Music Prize: Soviet Culture and Politics (New Haven, CT: Yale University Press, 2016). Gavrilova, V S., Opera S. S. Prokofeva ‘Ognennyi angel’: Dramaticheskie і stilevye osobennosti (Volgograd: [Izdatel'stvo Volgogradskogo gosudarstvennogo universiteta], 2008). Guillaumier, Christina K., ‘Ambiguous Modernism: The Early Orchestral Works of Sergei Prokofiev’, Tempo 65, no. 256 (2011): 25-37. ------ , ‘War and Peace and Prokofiev’s Late Operatic Aesthetic’, Three Oranges: The Journal ofthe Serge Prokofiev Foundation 21 (May 2011): 20-25. ------ , Ά Genealogy of Prokofiev s Musical Gestures from the Juvenilia to the Later Piano Works’, in Rita McAllister and Christina Guillaumier, eds., Rethinking Prokofiev (Oxford: Oxford University Press, 2020), 299-316. Hakobian, Levon, Music ofthe Soviet Age, 1917-1987 (Stockholm: Melos Music Literature, 1998). Justman, Stewart, Literature and Human Equality (Evanston, IL: Northwestern University Press, 2006). Kabalevskii, Dmitrii, ‘O Sergee Prokof'eve’, in S. S. Prokofev: Materiały, dokumenty, vospominaniia, ed. S. I. Shlifstein (Moscow: Gosudarstvennoe muzykal'noe izdatel’stvo, 1956), 410-15·
------ , A Vivid Personality’, in S. Prokofiev: Autobiography, Articles, Reminiscences, ed. S. I. Shlifstein, trans. Rose Prokofieva (Moscow: Foreign Languages Publishing House, i960), 201-21. Kaganovsky, Lilya, How the Soviet Man Was Unmade: Cultural Fantasy and Male Subjectivity Under Stalin (Pittsburgh, PA: University of Pittsburgh Press, 2008). Kinderman, William, and Joseph E. Jones, eds., Genetic Criticism and the Creative Process: Essaysfrom Music, Literature, and Theater (Rochester, NY: University of Rochester Press, 2009). Klimovitskii, Abram Iosifovich, Opera Prokofi'eva 'Semen Kotko': Poiasnenie (Moscow: Sovetskii kompozitor, 1961). Kramer, Jonathan D., Listen to the Music: A Self-Guided Tour through the Orchestral Repertoire (New York: Schirmer, 1988). Landis, Stella Baty, ‘The Soviet Operas of Sergei Prokofiev: In Search of Socialist Realism’ (Ph.D. thesis, Princeton University, 2007). Lobacheva, Nadezhda, Opernyi teatr S. S. Prokof'eva na primere “Povesť o nastoiashchem cheloveke” і nezavershennykh zamysł ον 1940-kh godov’ (Ph.D. thesis, Moscow, 2010). ------ , 'Povesť 0 nastoiashchem cheloveke՛ in S. S. Prokofiev: 60 let spustia (Moscow: Kompozitor, 2008). Mann, Noëlle, And More on Prokofiev’s Three Oranges!’, Three Oranges: The Journal of the Serge Prokofiev Foundation 10 (November 199s), accessed 19 May 2016, http://www. sprkfv.net/journal/threeio/morethreei.html Martens, Frederick H., ‘The Last Word in Russian Music: An Interview with Serge Prokofiev’, Musical Observer, November 1918. McAllister, Margaret Notman, ‘The Operas of Sergei Prokofiev’ (Ph.D.
thesis, University of Cambridge, 1970). McAllister, Rita, and Christina Guillaumier, eds., Rethinking Prokofiev (Oxford: Oxford University Press, 2020) Mendeľson-Prokof'eva, Mira, О Sergee Sergeeviche Prokofeve: Vospominaniia, dnevniki (1938-1967), ed. Elena V. Krivtsova (Moscow: Kompozitor, 2012). Mnatsakanova, Elizaveta Arkad'evna, Opera S. S. Prokofieva Obruchenie v Monastýre' (Moscow: Sovetskii kompozitor, 1959). Morrison, Simon, The People's Artist: Prokofievs Soviet Years (Oxford: Oxford University Press, 2009). ------ , Russian Opera and the Symbolist Movement, California Studies in 20th-Century Music 2nd edn (Berkeley: University of California Press, second edition, 2019). ------ , ‘Sergei Prokofiev’s Semyon Kotko as a Representative Example of Socialist Realism’, in Musik als Text: Bericht über den Internationalen Musikwissenschafitlichen Kongreß der Gesellschaft fiür Musikforschung, ed. Hermann Danuser and Tobias Plebuch, 2 vols. (Kassel: Bärenreiter, 1998), 2:494-97. Morson, Gary Saul, Hidden in Plain View: Narrative and Creative Potentials in 'War and Peace (Stanford, CA: Stanford University Press, 1987). Nest'ev, Izrail' Vladimirovich, Prokofiev, trans. Florence Jones (Stanford, CA: Stanford University Press, i960). Nest'ev, Izrail' Vladimirovich, and Georgii IAkovlevich Edeľman, eds., Sergei Prokof'ev: Staťi i materiały (Moscow: Izdatel'stvo Muzyka, 1965). Nice, David, Prokofiev: From Russia to the West, 1891-1935 (New Haven, CT: Yale University Press, 2003).
շ68 BIBLIOGRAPHY Petchenina, Ludmila, ‘Une expérience de mise en musique de la prose à travers les deux versions du Joueur de Serge Prokofiev’ (Ph.D. thesis, Université de Paris Sorbonne, 200б). Pisani, Michael V, ‘AKapustnik in the American Opera House: Modernism and Prokofievs Lovefor Three Oranges, Musical Quarterly 81, no. 4 (1997): 487-515. Polevoi, Boris Nikolaevich, A Story about a Real Man, trans. J. Fineburg (Moscow: Foreign Languages Publishing House, 1949). Poliakova, L. V, ‘Dalekie moria: О poslednem opernom zamyśle S. Prokof eva’, Sovđskaia Muzyka 3 (1963): 53-56. Pomorska, Krystyna, foreword to Mikhail Bakhtin, Rabelais and His World, trans. Hélène Iswolsky (Bloomington: Indiana University Press, 1984), vii-xii. Posner, Dassia N., The Director's Prism: E. T. A. Hoffmann and the Russian Theatrical AvantGarde (Evanston, IL: Northwestern University Press, 2016). Press, Stephen D., Prokofiev's Ballđsfor Diaghilev (Aldershot, UK: Ashgate, 2006). Prokof'eva, Lina, 'Iz vospominanii’, in Sergei Prokofiev: Stat'i i materiały, ed. Izraiľ Vladimirovich Nesťev and Georgii IAkovlevich Edeľman (Moscow: Izdateľstvo Muzyka, 1965), 174-233. Prokofiev, Sergei, Diaries 1907-1914: Prodigious Youth, trans, and annotated by Anthony Phillips (London: Faber and Faber, 2006). ------ , Diaries 1915-1923: Behind the Mask, trans, and annotated by Anthony Phillips (London: Faber and Faber, 2008). ------ , Diaries 1924-1933: Prodigal Son, trans, and annotated by Anthony Phillips (London: Faber and Faber, 2012). ------ , Prokofiev 0 Prokof’eve: Stati i interviu, ed. Viktor Varunts (Moscow:
Sovetskii kompozitor, 1991). ------ , Prokofiev by Prokofiev: A Composer's Memoir, ed. David H. Appel, trans. Guy Daniels (New York: Doubleday, 1979). ------ , Selected Letters of Sergei Prokofiev, trans, and ed. Harlow Robinson (Boston, MA: Northeastern University Press, 1998). ----- -, Sergei Prokofiev: Materials, Articles, Interviews, ed. Vladimir Blok (Moscow: Progress Publishers, 1978). ------ , Soviet Diary 1927 and Other Writings, trans, and ed. Oleg Prokofiev, associate ed. Christopher Palmer (London: Faber and Faber, 1991). ------ , S. Prokofiev: Autobiography, Articles, Reminiscences, ed. S. I. Shlifstein, trans. Rose Prokofieva (Moscow: Foreign Languages Publishing House, i960). ------ , S. S. Prokofiev: Materiały, dokumenty, vospominaniia, ed. S. I. Shlifstein (Moscow: Gosudarstvennoe muzykaľnoe izdateľstvo, 1956). Rimsky Korsakov, Nikolai, Principles of Orchestration, ed. Maximilian Steinberg, trans. Edward Agate (New York: Dover, 1964). Robinson, Harlow, ‘Dostoevsky and Opera: Prokofiev’s “The Gambler”', Musical Quarterly 70, no. 1 (Winter 1984): 96-10Ճ. ------ , ‘Flirting with Decadence: Sergei Prokofiev and Ognennyi Angel’, Opera Quarterly 8, no. 4 (1991) : 1-7, accessed 2 December 2016, doi:io.i093/oq/8.4.1 ------ , ‘The Operas of Sergei Prokofiev and Their Russian Literary Sources’ (Ph.D. thesis, University of California, Berkeley, 1980). Rubets, A. I., Dvesti shestnadtsať narodnykh ukrainskikh napevov zapisal і izdal А. I. Rubets (Moscow, 1872).
BIBLIOGRAPHY 269 Ruch'evskaia, Ekaterina Aleksandrovna, 'Voina і mir': Roman L. N. Tolstogo i opera S. S. Prokofeva (St Petersburg: Kompozitor, 2010). Russell, Robert, ‘The Works of Valentin Katayev’ (Ph.D. thesis, University of Edinburgh, 1978). Sabinina, Marina Dmitrievna, Ob opere kotoraia ne byla napisana’, Sovetskaia Muzyka (1962): 41-48. ------, ‘Ob opernom stile Prokof'eva’, in Sergei Prokofev: Staťi i materiały, ed. Izraiľ Vladimirovich Nesťev and Georgii IAkovlevich Edeľman, 2nd edn (Moscow, 1965), 54-93- ------, ‘Semen Kotko' i problemy opernoi dramaturgii Prokofeva (Moscow: Sovetskii kompozitor, 1963). Şavkına, N. R, 'Ognennyi Angel' S. S. Prokofeva: k istorii sozdaniia (Moscow: Nauchnoizdatel'skii tsentr ‘Moskovskaia konservatoriia’, 2015). ------, ‘“Yea, Though I Walk through the Valley of the Shadow of Death .”: An Introduction to Prokofiev’s Thanatology’, trans. Rita McAllister and Maria McMinn, in Rethinking Prokofiev, eds. Rita McAllister and Christina Guillaumier (Oxford: Oxford University Press, 2020), 273-95. Schmidt, Paul, ed., Meyerhold at Work, trans. Paul Schmidt, Ilya Levin, and Vern McGee (Manchester: Carcanet New Press, 1981). Seinen, Nathan, ‘Kutuzov’s Victory, Prokofiev’s Defeat: The Revisions of “War and Peace’”, Music and Letters 90, no. 3 (2009): 399-431. ------, ‘Prokofiev’s Semyon Kotko and the Melodrama of High Stalinism’, Cambridge Opera Journal 21, no. 3 (2009): 203-36. ------, Prokofiev's Soviet Operas, (Cambridge: Cambridge University Press, 2019). Shlifshtein, S., ‘S. Prokof‘ev i ego opera “Povesť о nastoiashchem cheloveke’”,
Sovetskaia Muzyka 1 (1961). Slonimsky, Nicolas, Music since 1900, 3rd edn (New York: Coleman-Ross, 1949). Tarakanov, Mikhail, Rannie opery Prokofeva: Issledovanie (Magnitogorsk: Gos. In-t iskusstvoznaniia, Magnitogorskii muz.-ped. In-t, 1996). Taruskin, Richard, ‘Betrothal in a Monastery [Obrucbeiye v monastire·, Duen'ya (“The Duenna”)]’, in Grove Music Online, Oxford Music Online, 2002, accessed 19 October 2018, http://www.oxfordmusiconline.com/grovemusic/view/10.1093/ gmo/978i56iS92630.ooi.oooi/omo-978is6i592630-e-sooooo676s?rskey=GjiabN resu lt=i ------, ‘Chernomor to Kashchei: Harmonic Sorcery; Or, Stravinsky’s “Angle”’, Journal of the American Musicological Society 38, no. 1 (Spring 1985): 72-142. ------, On Russian Music (Berkeley: University of California Press, 2009). ------, ‘Russian Realism as Preached and Practiced: The Russian Opera Dialogue’, Musical Quarterly, 56, no. 3 (July 1970): 431-54. ------, Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra, Volume II (Berkeley: University of California Press, 1996). ------, ‘Tone, Style, and Form in Prokofiev’s Soviet Operas: Some Preliminary Observations’, in Studies in the History of Music: Voi. 1, Music and Drama (New York: Broude Bros., 1988), 215-39· Tolstoy, Leo, War and Peace, trans. Louise Maude and Aylmer Maude, ed. Henry Gifford (Oxford: Oxford University Press, 1991, reissued 2008).
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BIBLIOGRAPHY 273 Mc Quere, Gordon D., ed., Russian Theoretical Thought in Music (Ann Arbor, MI: UMI Research Press, 1983). Medvedeva, Irina, ‘“Chernoe leto” 1939 goda’, in Sergei Prokof'ev: Vospominaniia, Pis’ma, Staťi, ed. M. P. Rakhmanova (Moscow: Gosudarstvennyi tsentral'nyi muzei muzykaľnoi kul'tury imeni M. I. Glinki, 2004), 317-66. Mikkonen, Simo, ‘State Composers and the Red Courtiers: Music, Ideology, and Politics in the Soviet 1930s’ (Ph.D. thesis, University of Jyväskylä, 2007), accessed 30 September 2015, https://jyx.jyu.fi/dspace/bitstream/handle/123456789/i3463/97895i3930is8.pdf Mintum, Neil, The Music of Sergei Prokofiev, Composers of the Twentieth Century (New Haven, CT: Yale University Press, 1997). Mochulsky, Konstantin, Dostoevsky: His Life and Work, trans. Michael A. Minihan (Princeton, NJ: Princeton University Press, 1971). Moisson-Franckhauser, Suzanne, Serge Prokofiev et les courants esthétiques de son temps, 189119S3 (Paris: Publications orientalistes de France, 1974). Monelle, Raymond, Linguistics and Semiotics in Music (Chur, Switzerland: Harwood Academic, 1992). ------ , The Sense ofMusic: Semiotic Essays (Princeton, NJ : Princeton University Press, 2000). Morrison, Simon, ed., Sergey Prokofiev and His World (Princeton: Princeton University Press, 2008). Mnatsakanova, Elizaveta Arkad'evna, Opera S. S. Prokof’eva Obruchenie v Monastýre’ (Moscow: Sovetskii kompozitor, 1959). Neef, Sigrid, Die Opern Sergej Prokofiews, Prokofjew-Studien 7 (Berlin: E. Kuhn, 2009). Pavis, Patrice, Dictionary ofthe Theatre: Terms, Concepts, and Analysis, trans. Christine
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INDEX fn indicates a footnote containing additional information; ill refers to illustrative material; sc means an extract from a score Aix-en-Provence Festival, 6 Albright, Daniel: Untwisting the Serpent quoted, 27,73-5,140 Asaf’ev, Boris, 59, 62,84,85 quoted, 59, 66, 67 Bader, Group Captain Sir Douglas, շոքո Basel Theater, 6 Beethoven, Ludwig van, յշ, 105 Benois, Alexander, 60 + fa Berlin Staatskapelle, 6 Städtische Oper, 60,81-2 Borodin, Alexander: Prince Igor, 9 Brussels: Théâtre de la Monnaie, 34 Bryusov, Valery: The Fiery Angel, 79,80-1, 8061, 82-4, 86-7, 88, 89-90, юз quoted, 82-3,106 see also Prokofiev’s operas: The Fiery Angel Central Committees see Commissariats Chernov, Mikhail, 12-13 Chicago, 78 Opera, 60 Chopin, Frédéric, 248 Etude no. 12,12 Christian, Reginald F. : Tolstoy: A Critical Introduction quoted, 178, 208 Clark, Katerina: quoted, 121,122, 212 + fn Coates, Albert, 33 Codina, Carolina ‘Lina’ (Prokofievs first wife, aka Lina Llubera), 461,8261,173 Coini, Jacques, 58-9 Cologne: Oper der Stadt Köln, бо commedia dell’arte, 9,56,57, 63,75, 78 Committees Central Committee of the All-Union Communist Party: Resolution of February 1948,213 + fn, 245,246 Central Repertoire Committee (Glavrepertkom), 151 + fn, 172 + fn Committee for Arts Affairs, i2ifn, 17761,179 + fn, 181, 200, 213, 214 + fn Radio Committee, 151 Dan'ko, Larisa, 150,151,152,153 + fn, 158,160, ібі, 168 Dargomyzhsky, Alexander, 2,1361 The Stone Guest, S3 Demchinsky, Boris, 4261,46 + fn, 49-50,83 + fn, 84,8s, 87-8, 238in Derzhanovsky, Vladimir, 60,128,176 + fn Diaghilev, Sergei, 2,36,6շքո, 8s, 119
Dostoyevsky, Fyodor, 4561,168 1,208 The Gambler, 36-7,42, 43, 45-6,4561, 48-9, SO, si, sz-з, 54 first-person narrative, 42,43-4, 51,80,86-7, 223 quoted, 41, 45 rights, 34 well-known source, 231 see also Prokofiev s operas: The Gambler Downes, Sir Edward, 1961 Dvořák, Antonín, 1361
27б INDEX Dykhovichny, V. A.: Distant Seas, 238, 245-6 see also Prokofiev’s operas: Distant Seas Dzerzhinsky, Ivan The Quiet Don/Quiet Flows the Dom, ւշօ£հ, 127 Eisenstein, Sergei, 4,133, íóofh, i8o, 200, 219, 237 Ivan the Terrible, 239 Ermolaeva, Katya, 17161,17261,17661 quoted, 17261 formalism, 122 Frolova-Walker, Marma, 6061,12061, 21361 quoted, 79 Gay, John: The Beggar's Opera, 150 Germans, 80,173 in Semyon Kotko, 124,125,126,131,134,140, 147,218 Glavrepertkom see Commissariats: Central Repertoire Committee Glière, Reinhold, 12-13,16-17 Goethe, Johann Wolfgang von: Faust, 89 Gogol, Nikolai, 123,124, i68fii Goldenweiser, Alexander, 17 Golovin, Alexandr Yakovlevich, 33 + fn Gounod, Charles: Faust, 9,80 Gozzi, Carlo: The Love of Three Oranges, 57-8, 61-2, 70, 73, 75,149 and improvisation, 62-3 origins of the fable, 57,63 see also Prokofiev’s operas: Lovefor Three Oranges Grange Park Opera (Surrey, England), 6 Gusman, Boris, 12161 Hakobian, Levon: Music of the Soviet Age quoted, 119 Haydn, Joseph, 15161 Hecht, Ben: quoted, 59 Hoffmann, E.T.A., 1361 Adventure on New Year's Eve, 57 home theatre (domashnyi teatr), 11 Isayev, K. F. and A. A. Galich: Tamir is calling you, 238 Justman, Stewart: Literature and Human Equality quoted, 174,175, 202 Kabalevskii, Dmitrii, 125,173 Kafka, Franz, 37 Katayev, Valentin, 122-3,126-7, iz6fh, 13061, 146-7 Chernyi khleb, 123 I, Son of the Working People, 122,123,126, 130, 223, 231 dramatised for the stage, 123 + 61 see also Prokofiev s operas: Semyon Kotko For the Power of the Soviets, 12661 A Soldier Came From the Front, 123 Son, 123 The
Squaring of the Circle, 122 Kazakhstan, 239 Khaikin, Boris, 213-14,21461 Khrapchenko, Mikhail Borisovich, 179 + 61 Khrennikov, Tikhon, 12361,147,21361 Into the Storm, 147 Kilschtedt, Mariya Grigoryevna, 13 + 61 Kirov Theatre see St Petersburg: Academic Theatre Klimovitskii, Abram: quoted, 361,12561,132 + 61 Lamm, Pavel, 128,17161, 214, 215 Lavrenev, Boris: The Story of a Simple Affair, 12161, 238 Leningrad see St Petersburg Leskov, Nikolai: The Wastrel, 238 + 61 Lieven-Orolova, Magda Gustavovna (Baron Lieven), 18 + 61 Lobacheva, Nadezhda, 216,23461, 23861, 245 quoted, 122, 218 London: Royal Opera, 6 Los Angeles: Music Centre Opera, 89 Malraux, André: La condition humaine, 12161 Mariinsky Theatre see St Petersburg: Academic Theatre Mayakovsky, Vladimir, 4,126 + 61 McAllister, Margaret ‘Rita’: Operas of Sergei Prokofiev, 8261,127,157,18Ć, 216, 24061, 24661 quoted, 84, 9361, 9761,180,196
277 INDEX Mendelson, Mira (Prokofiev s second wife), 4 1,208,214 + fii, 2isfti diaries (Vospominaniia), 4,151,172Ğ1,173 + fn, 17Ć 1,17961, 213-14 quoted, 175 working with Prokofiev on text, 150,158, 173-4,17661,213,21S, 138, 239, 24461,245 Meyerhold, Vsevolod, 4,56-9,5761, mill, 12161 disappearance, 147 as ‘Doctor Dapertutto’, 57 improvisation, 57,58,67 influence on Prokofiev, 3,44,56, 73,75,76, 14761,149 methodology, 3, 43,56,6061 projected collaboration with Prokofiev, 33, 34, 43,147 quoted, 57 support for Prokofiev, 33,57 as teacher, 57 text of The Love of Three Oranges, 57-8, 5861, 73 Troitskaya Street studio, 57 Miaskovsky, Nikolai, 1261,18, 81,82,86,128, 147,218 modernism, 122 see also Prokofiev, Sergei: modernism Morolev, Vasily, 14 Morrison, Simon The People’s Artist: Prokofiev's Soviet Years, І2б6і, 17061,17961,18261,21461 quoted, 127,12861,152,172,17661,213,214, 23961 Russian Opera and the Symbolist Movement, 8ofn, 8261 quoted, 37,80,89 ‘Sergei Prokofiev s Semyon Kotko’, 12761, 12861 quoted, 127 Moscow, 9,119, 2H Bolshoi Theatre, 12161,180 mounts Love for Three Oranges, 60, 78 mounts Semyon Kotko, mill mounts The Story of a Real Man, 11618İİI, 214-15,21561 1961 production, 21561 not mounting Prokofiev operas, 34,151 Conservatory, 12361 Free Theatre, 18 Stanislavsky Theatre, 147,151 Vakhtangov Theatre, 123 Mozart, Wolfgang Amadeus, 30,128,150-1, 169 Don Giovanni, 151 music purge of 1948 see Zhdanovshchina Mussorgsky, Modest, 2 Boris Godunov, 17561 The Marriage, 53 narodnost (national identity), 122 Nest ev, Izrail’ Vladimirovich: Prokofiev, 3361, 122,12661 quoted,
59,125,150,15261,169, 239 New York, 78 Manhattan Opera, 60 Metropolitan Opera, 82 opera buffa, 63,149,150,168 Paris, 7961,80,119 Opéra National de Paris-Bastille, 19461 Pisani, Michael V: ‘A Kapustnik in the American Opera House’, 7661 quoted, 6261,73 Polevoi, Boris, 212, 21561 The Story of a Real Man, 211-19, 21261, 222, 223,226,228,231, 234-S quoted, 212, 215-16,222 see also Prokofiev’s operas: The Story of a Real Man Pravda, 122,123 Prokofiev’s operas Betrothal in a Monastery op. 86,2,140, 149-70,15061, 238, 245-6 critical reception, 170 + fii score extracts, 155-7,159,162-7 synopsis, 256-8 two versions, 15161,153 see also Sheridan, Richard Brinsley Bradobray (fragment), 238 + fn On Desert Islands, 9,12 + fn discarded projects, 12161,238 + fn Distant Seas op. 118 (unfinished), 238, 245-8 overlapping The Story of a Real Man, 245, 246 plot overview, 24Ć-7
278 INDEX see also Dykhovichny, V. A. early operas generally, 9-32, 88,106,128, 146, 220, 222, 223, 236 A Feast in Time ofPlague, 9,12 + fa, 208 overture, 12-13,17 revised, 13 The Fiery Angel op. 37, 2, 3761, 79-106,173, 208,20961 in concert, 79 Faust, 81,84,87,89 + fa, 102-3 Mephistopheles, 83,84,87, 89 + fa, 92, 102-3 overlapping The Gambler, 46 + fa, 96,102 Renata, 7961,82-3, 84-5,86,93-7,97fa, 103-6 character origins, 8ofa fractured love life, 27, 82-3, 89,95 + fa, 102-3 psychology/character, 30-1, 81,83,87, 88-90,92,99, 234 vocally, 92 Ruprecht, 84,85,87,89,92,94-s, 9561, 96-7,102-3 and Agrippa, 91-2,97 as eyewitness/narrator, 82,83-4,88-9, 90, 97 and Heinrich, 93,102 lust for/relationship with Renata, 81-Յ, 89, 95; 97fn, 102 in the novel, 82,83 score extracts, 92-3,94,96,98-9,100-1, 104-5 stagings, 6, 89 + fa synopsis, 252-3 three versions, 79-80, 81,90-1,106,183 version 1, 81,82, 85,86,90-1,95,97,103 version 2,81-2, 84-6, 88-9,91 + fa, 92, 95,97,102,103 version 3,82 + fa, 86, 88,119 vocal suite op. 37 bis, 79(11 world premiere (Venice), 79 + fa see aho Bryusov, Valery The Gambler op. 24,2, 3, 22,32,33-55; 59-61,87,127, 225 Alexei, 37-9,42-51, 4sfa, 4б , sofa, 52, 71, 2i8fa in the novel, 36-7 Babuleńka, 37, 39,41-3,44,52 French translation, 54 Paulina, 43-4,45,46-50,54 fractured love life, 27,43-4,45 + fa, 4Ć-7,46fa, 48-9, si psychology, 31 score extracts, 38-9,40-1,47,51,52, 108-10 stagings, 6,46 + fa synopsis, 249-50 two versions, 2,44 + fa, 46-8,55 version 1,22,170 version 2, 34,50,52-3,54,79 world premiere (Brussels), 34-5 + fa, 52 young man s opera, 2 see ako
Dostoyevsky, Fyodor The Giant, 9-12,14,15,20,7sfa, 107İİI Khan Buzay op. 86 (unfinished; based on Kazakh folklore), 21961,238,245, 246 overlapping The Story of a Real Man, 238 plot overview, 240-4 late operas generally, 5-6,120,129,130,148, 170,182, 237 Lovefor Three Oranges op. 33,2,20,56-78, 81 compared to Betrothal in a Monastery, 168 critical reception, 77-8 Fata Morgana, 58,61,68,70,75,76 Leandre, 63, 75-6 libretto, 57-8 Prince, 58,61,64,66,69,70,76 score extracts, 64, 65-6, 67, 68-72,74; 77 stagings, 6,60,78 synopsis, 251-2 Tchelio, 58,61,68,70,75 Truffaldino (Arlecchino), 58,61, 64,66, 69,70,75; 7б world premiere (Chicago), 58,73,78 see also Gozzi, Carlo Maddalena op. 13,12,15 + fa, 17-32,1961,33; 88,95,106 score extracts, 21,23,24, 25,26,28,29 synopsis, 249 pre-Soviet operas generally, 1,63,106 Semyon Kotko op. 81,2,6,120,122-48,12461, i33fa, 170 critical reception, 147 production photographs, 111,112,113-15 score extracts, 131,135-40, 141-6
279 INDEX stagings, 133in, 231 synopsis, 254-6 world premiere (Moscow), 147 see also Katayev, Valentin Soviet period, 1,3 + 61, 4,6,14 1,106, 119-47 The Story of a Real Man op. 117,2,6,211-37, 21361, 21561, 23461 Alexei Maresyev, 211-12, 215-19,21861, 220 + 61,225,226-8,231,234-ć Barcarolle, 228 Commissar, 212, 216, 218,219, 220, 222, 226-8,231,236 considered by the Committee on Arts Affairs, 214 + 61 overlapping War and Reace, 211 posthumous world premiere (Moscow), 214-15, 21561 production photographs, 116-17,118 score extracts, 217, 221-2,223-5, 227, 229-30,232-3,234,23s staging possibilities, 231, 237 synopsis, 262-4 two versions, 215 + 61,237 see also Polevoi, Boris Undina, 9,11,12,13-15, 22,32,60 War and Peace op. 91,2,4,54,171-210,17361, 17461,18061 6ve versions, 88,17!, 17261,17561,177,210 posthumous edition (ed.: Lev Atovmian), 18261 version 1,17161,172 + 61,176,17761, 179,182,19461,19661,19861, 209-10 version 2,17161,172,179-80,18061, 18161,182 version 3,172,180-1 version 4,172 version 5,17161,172,202,204,209 Kutuzov, 17561,176,179,198 + 61, 200 + 61, 204,207 contrasted with Napoleon, 174-5,177, 180-1,209 in the original novel, 174-5,181-2 transformed into ‘hero as performer) 174) 17s + fo) 179-80,181,182 + 61 in version 1,175,182 mooted as Natasha Rostova, 17661 Napoleon, 173,174-S) 176,177 + 61,178, 180-1,186,198-200, 202,209 Natasha, 131,176,182,186-92, i94 + 196,203-4,207 + Ц 209 + 61 relationship with Prince Andrei, 175, 176,177-9) 180,182,183-ć, 191,198, 202,209 + v overlapping The Story of a Real Man, 211 Pierre, 175 + fn, 177) 192,194,196,198, 20961
determination to kill Napoleon, 176, 200 + 61 infatuation with Natasha, 176,192, 202-4 as philosopher, 185,196,202-4,20761, 21861 as Tolstoy s mouthpiece, 177,182 Prince Andrei, 176-8,180,183-5,19661, 198,202-4,20261, 207 + 61,209 + 61 delirium, 202,231,234, 235-6 score extracts, 183-4,185,187-90,191, 193-4,195,197,199, 201, 203-6 stagings, 6,17661,19461 synopsis, 258-62,25861 as The Year 1812,17661 see also Tolstoy, Leo PROKOFIEV QUOTED, 9, 12,13-14, l6, 17, 2661,53 on Betrothal in a Monastery, 150,151,152,153, 169 on A Feast in Time of Plague, 208 on The Fiery Angel, 1261,81, 83, 84,86,87-8, 91 on The Gambler, 34, 35,37,43, 49,53 on Lovefor Three Oranges, 58-9,60,61, 63, 78 on Maddalena, 17-18 on Semyon Kotko, 121-2,127,128,129 on The Story of a Real Man, 21361, 222 on War and Peace, 173,176, 208 PROKOFIEV, SERGEI, 107İİI, lililí and the absurd, 58, бо, 63, 75,92 ambiguity, 35 The Fiery Angel, 30-1, 84,88 The Gambler, 30-1, 46,51 Lovefor Three Oranges, 30-1,63-4 Maddalena, 20,22,26 Semyon Kotko, 122 ambition, 2, 35,53,106 arias (or not), 14,43,45,55,61,128,129,147, 209
280 INDEX Betrothal in a Monastery, 150-1,153,155 The Fiery Angel, 92 Semyon Kotko, 126,129,131-2 The Story of a Real Man, 220,228 War and Peace, 173-4,200 + fii, 204 Khan Buzay, 239,244 Lovefor Three Oranges, 58 + 61,61,66, 67-8, 70, 73,150,208 Semyon Kotko (or not), 121,122,124,125, 12Ć, 130-1,140-1,146,17Ć The Story of a Real Man, 220,223,22861, ariosos Betrothal in a Monastery, 153,154-5 The Story ofa Real Man, 222, 226, 236 War and Peace, 180,186,196,198, 20961 237 War and Peace, 173,176,182,183,196,198, 207,208, 209,210 arpeggios, 15, 22,23Ш, 68, 92,133,231 childhood, 9-13,1061,107İİI audiences, 3,5, 6,9,36,57,119,120 the chorus, 147 Betrothal in a Monastery, 152-3,154,160, 168 The Fiery Angel, 1261, 29-30,86, 9061, 92, 97,106 challenging, 79,82,84-5,88-90,9061, 91,94-5,102-3 The Gambler, 29-30,36, 37,42,44,46,48, SO, 51,73 The Giant, 10,12 Lovefor Three Oranges, 56,59, 61,68, 73, 75 + 61,76 Maddalena, 20,22, 24,26, 29, 30, 31 Semyon Kotko, 124,127,129-30,132-3, 134,140 The Story of a Real Man, 219, 222,225, 226-8, 22861,231 War and Peace, 178,198 + 61, 200 + 61, 202,207,209, 231 bass line, 11 + 61,14 Betrothal in a Monastery, 154,158 The Fiery Angel, 90 The Gambler, 19,46 Lovefor Three Oranges, 19 Maddalena, 19,22,23 The Story of a Real Man, 216, 231,236 War and Peace, 192 see also Prokoñev, Sergei: leaping bass cadences/pseudo-cadences, 16,56,63-4, 6461, Ć4SC, 67SC, 71,226 Undina, 14 character writing/ caricature, 3,4 Betrothal in a Monastery, 150,152-3, iS4, 157-8,161,168 Betrothal in a Monastery, 157,158,168 The Fiery Angel, 92,102,103,105-6 The Gambler, 48 Khan
Buzay, 243 Love for Three Oranges, 58-9,66 Maddalena, 32 Semyon Kotko, 127,141 The Story of a Real Man, 213 + 6i, 21561 Undina, 32 War and Peace, 174,176,179,180,183,196, 198,20261, 204 Christian Science, 85-6,8561 chromatic writing, 15, ić Distant Seas, 245 A Feast in Time ofPlague, 12 The Fiery Angel, 30,90,93,95-7 The Gambler, 45-6,48 The Giant, 11 + 61 Lovefor Three Oranges, 30,62,69,71,73, 75-6 Maddalena, 19,20,22,24,26,27,3°, 31,32 Semyon Kotko, 140,141 The Story of a Real Man, 216,228, 236 Undina, 15 War and Peace, 153,192,202 the cinematic/montage, 27-9,127,13Յ Distant Seas, 24s, 248 The Fiery Angel, 106,132-3 The Gambler, 36, 37,43,46,128,132-3 Khan Buzay, 239, 243-4 Lovefor Three Oranges, 59,76,77sc Semyon Kotko, 127,132-3,13261 The Story of a Real Man, 132,216,220,222, The Fiery Angel, 8061,81, 87,88, 90,91,92, 225,226, 228,231,23461,237 93-4,95,97,106 The Gambler, 50-3, 54, 55, 75, 76,131,19Ճ, War and Peace, 196,200, 202,207,209 208,216 The Giant, 11 declamation, 3,4,6,1461,53-4 + 61,128,149 Betrothal in a Monastery, 152,153 + 6i, 168,169
281 INDEX The Fiery Angel, 14,91-2, ։o6 The Gambler, 14, 22,44» 45, S3; 54; SS; 209 + fh Khan Buzay, 244 Lovefor Three Oranges, 61,7Յ; 75; 78 Maddalena, 22 Semyon Kotko, 126,128,129,131,133,134, 153 The Story of a Real Man, 228, 236,237, 244 Undina, 14 War and Peace, 173,183, 186, 209, 210, 223 the demonic/diabolic The Fiery Angel, 89, 92 Lovefor Three Oranges, 61,6 2, 80 Maddalena, 31 dissonance, 13,16,103,120,129, 244 dramaturgy, 1, 2, 3,4,5; 18, 3°; Зі, 35-6, 121 Betrothal in a Monastery, 149,152 The Fiery Angel, 85,86-7,89,103,106,149 The Gambler, 35-6,42,44; 46,5°; S4; SS; 61 Lovefor Three Oranges, 60,61, 6261, 73 Maddalena, 18,30, 31 Semyon Kotko, 122,132,147-8 The Story of a Real Man, 12961,216, 219, The Story of a Real Man, 21361,228,236 Undina, 13 health breakdown, 214 humour/comedy, 6 Betrothal in a Monastery, 149,150,151,152, 154-5; 157-8; 161,168,169-70 The Fiery Angel, 89, 95, 96,102 The Gambler, 52 Lovefor Three Oranges, 58,59, 60, 61, 63, 64,78,170 Semyon Kotko, 122,124 + 61,132,134,140 War and Peace, 180, 200 the improvisatory, 63, 67 language (Russian)/speech, 149,153,160, 174; 239; 245 leaping bass, 90 The Gambler, 208 The Giant, 11 Lovefor Three Oranges, 75-6, 7561, 208 Maddalena, 20, 22-3, 24, 32 Undina, 14 War and Peace, 192, 20761 see also Prokofiev, Sergei: bass line librettos/text, 2, 6,62-3, 8761,121,126 Betrothal in a Monastery, 150,151,152-3, 157,158,160 + fn, 161 War and Peace, 171-2,174; i77; 178,180 as enfant terrible, 35,6261, 81 Distant Seas, 238,245-6 A Feast in Time ofPlague, 12 The Fiery Angel, 46 + 61,81, 82 + fn, 8361, entr’actes, 48,
93, 97,102,103,220, 222,236 fairy tale (skazka), 57,60, 61,67-8, 69 The Gambler, 33,34,3,6-7,3661, 43, 46 + 222-3,226 the fantastical, 9,11, S9; 63,69,149, 240 farce, 6,58, 60, 69 folk elements Khan Buzay, 238-40,243-4 Lovefor Three Oranges, 57 Semyon Kotko, 123,125, i2S֊6fn, 126,128, 130-1,147 The Story of a Real Man, 213 + fin, 220, 226, 228 harmony, 4,16,32; 35; 120 Betrothal in a Monastery, 155 Distant Seas, 245 Ճ Feast in Time of Plague, 13 The Fiery Angel, 88,90,97 The Giant, 10 Love for Three Oranges, 63,64,68, 75-6 Maddalena, 15,19,20, 22Ц 24,30,31 Semyon Kotko, 134,140 84, 85,86-8,90,103 61, 48,50,52, 63 Khan Buzay, 238, 239 + fn Love for Three Oranges, 57-8, 59, 63,75, 152 Maddalena, 18, 2Ć-7 Semyon Kotko, 123,124,126,128,147 The Story of a Real Man, 215, 216-18, 219, 223,225, 226-8,235-6 Undina, 13 + fn War and Peace, 175-6,178,190,208-9, 139 magic, 30,90 The Fiery Angel, 95, 97 The Giant, 11 Khan Buzay, 239,243 Lovefor Three Oranges, 58, 61,68, 69, 70, 75 melody, 6,1461,16,17 + fh, 53,56,120,121-2
INDEX 282 Betrothal in a Monastery, 150,153,154,155, 158,160 Distant Seas, 246 + fh The Fiery Angel, 90,91-2,9S 103,105-6, 129 The Gambler, 48,54 + fh, 129 Khan Buzay, 240, 243, 244 Lovefor Three Oranges, 63,69,76,78 Maddalena, 20,27,32 Semyon Kotko, 125,125-ćfh, 128,129,130, 13г, Ш-4 The Story of a Real Man, 213 1, 220, 223, 226,228-31,236 Undina, 14 War and Peace, 196, 202,207in modernism/avant-garde, 16,80,10 6,119 The Fiery Angel, 89 The Gambler, 35, 36, ss, 122 Lovefor Three Oranges, 6061, 62 + fh, 73 motifs/leitmotifs Betrothal in a Monastery, 152,154,161-8, 16861 The Fiery Angel, 92-3,95i 96-7) 102,103, 106 The Gambler, 36,45,46, 48 The Giant, 11 Love for Three Oranges, 61,63,67-8,70, 71-З) 73 ֊6 Maddalena, 19, zo, 22, 24, 27,30, 31, 32 Semyon Kotko, 125,130,131,132 The Story of a Real Man, 223 War and Peace, 186,191,192,200, 202 + fh musical voice/idiom, 1-5,11,32,63,120,122, 125,248 ’new simplicity’, 4,16 operatic structure, 2,3,4,182 Betrothal in a Monastery, 149,150,152, 153-4,157,158,160 Distant Seas, 245-6, 247 The Fiery Angel, 84,90, 93-4,96-7 The Gambler, 37,41,4z, 43,44,48,51, 53-5,152·, 154 Khan Buzay, 243 Love for Three Oranges, 56, 62,66-7,78 Maddalena, 18 Semyon Kotko, 120,128,130,132,133,154, 223 The Story ofa Real Man, 21561, 219,220, 223,226,231-4 Undina, 14,15 War and Peace, 182-3, i92,196,207,211, 219-20 orchestration/instrumentation, 16-17 Betrothal in a Monastery, 151,168 A Feast in the Time ofPlague, 17 The Fiery Angel, 86,90-1,92,106,209 The Gambler, 34,106 The Giant, 11 + 61 Lovefor Three Oranges, 56,68,70,71-3, 106 Maddalena, 18-19,շօ, i°6
Semyon Kotko, 130,146 The Story of a Real Man, 214,226,228-31 War and Peace, 1961,17161,179,192,198 the orgiastic, 84,89,102,133 ostinatos, 90,120,130,132,134 Distant Seas, 248 The Fiery Angel, 93,95,96, 97,248 The Gambler, 43,45-6,64,132 The Giant, 11 Love for Three Oranges, 64-8,68-72SC, 71, 78 Maddalena, 22-4, 26-7, 32 Semyon Kotko, 130,134-40,13461,13940SC The Story of a Real Man, 231 Undina, 14,15 War and Peace, 196,199,200,202 as pianist, 9,1Ć-17,35,56,6261,107İİI political context/interference/Soviet ideology, 5-6,1461,119-21,170,213 Betrothal in a Monastery, 149-50,168,170 (self-)censorship, 2,147 Distant Seas, 24s, 248 Semyon Kotko, 122-6,127,147,168 The Story ofa Real Man, 216,237,245 War and Peace, 3-4,12661,171-2,176,179, 180, 209,210 realism (or not), 1461,2661,36,43,53,56,57 The Fiery Angel, 84-5,94, 95, 97, i°2 The Gambler, 36,37,43,48,49,51,53,54, 55,85 Semyon Kotko, 124,125,147 The Story ofa Real Man, 12261 War and Peace, 207,209 see also Socialist Realism repeated notes/phrases, 27,31 Betrothal in a Monastery, 158,169
INDEX Distant Seas, 246-7 The Fiery Angel, 90, 95; 96,97, i°5 The Gambler, 43,46,48, 63 Khan Buzay, 244 Lovefor Three Oranges, 63,64-6,6s~6sc, 69; 7I; 73; 76, 140 Maddalena, 27, 31 Semyon Kotko, 130,133,14O; 141» 146 The Story of a Real Man, 226,228, 231, 234; 236 War and Peace, 192,202 return to the Soviet Union/emigré status, 2,119,126,127,147 satire Betrothal in a Monastery, 150,168 + fh The Gambler, 44,50 Love for Three Oranges, 59,6o, 6i Semyon Kotko, 131 War and Peace, 174 scénographie plasticity’, 3,36,149 Betrothal in a Monastery, 150,153in, 154, 155; 169-70 Distant Seas, 246,248 The Gambler, 3,170 Khan Buzay, 244 Semyon Kotko, 132,169-70 The Story of a Real Man, 222 War and Peace, 169-70,173,176,183, 19661 Scythianism/ Silver Age verse, 80 + fn semitone shift, 22, 26, 90 the supernatural, 11,30,31, 32, 69, 90 The Fiery Angel, 11,71, 84, 208 in the original novel, 83-4, 88,90, 9761 version 1,84-5,91 version 2, 84-S, 88-9, 92, 96-7; 102, 103 version 3,86,89 + 61 Love for Three Oranges, 11,61,68,69 Maddalena, 11,27,30, 31,32 the surreal The Fiery Angel, 92,97 The Gambler, 37,48, 5°, 55 Love for Three Oranges, 69 Maddalena, 26 Semyon Kotko, 12661,127 symbolism Betrothal in a Monastery, 168 283 Distant Seas, 248 The Fiery Angel, 79, 8o֊i, 8061,87,102, 10Ć Maddalena, 31, 32 Semyon Kotko, 125,127,130 The Story of a Real Man, 212,218 War and Peace, 177,180,181,183,191,192, 202, 208, 209 tableaux, 3 The Gambler, 37, 44,46 Maddalena, 31 Semyon Kotko, 146 The Story of a Real Man, 231 War and Peace, 179,182,196 + 61 tempo, 10,16061 Betrothal in a Monastery, 154 The Gambler,
37, 45,5061,52 The Giant, 10,11 Love for Three Oranges, 68 Maddalena, гг Semyon Kotko, 146 The Story of a Real Man, 231, 236 Undina, 14-15 War and Peace, 198 the theatrical, 1, 2,4,5-6,9,18,36, 56,62, 208 The Fiery Angel, 79,81,88,89,102,105, 10Ć, 13З; 146,148 The Gambler, 36,44,46 + 61,49-Si; 55; 133,146,148, 208 The Giant, 10,11,12 Lovefor Three Oranges, 11,17,59,60,61, 7I; 73; 76,148,208 Maddalena, 15,18,22, 24; 26,27; 30,31, 32 Semyon Kotko, 133,146,148 The Story of a Real Man, 222 War and Peace, 175 ‘theatrical rhythm’, 3,4, 43; 48,5°; 54; 55; 120,149,182 Betrothal in a Monastery, 150,152,153,154, 160,161,169-70 Distant Seas, 245,24661 The Fiery Angel, 89,91, 92,102,106 The Gambler, 3,42 + 61,53,170 Khan Buzay, 244 Lovefor Three Oranges, 58, 61,63,66,76 Semyon Kotko, 122,130,140, 216 The Story of a Real Man, 216, 219, 222, 236, 237,24661
284 INDEX War and Peace, 183,196 + fa, 200, 207, 209,210 themes (musical and as expressed musically), 219 Betrothal in a Monastery, 150, 158,1Ճ0, 161 Distant Seas, 245, 24è, 247 The Fiery Angel, 82, 91, 92-3, 93fa; 95; 96, 102,103-6,209 The Gambler, 36, 42,44; 48-9; 5Ն 54 Khan Buzay, 244 Love for Three Oranges, 60, 63, 70,73 Maddalena, 20, 26, 27, 30, 31, 32 Semyon Kotko, 121,124,126,130,131-2 The Story of a Real Man, 211,213, 218, 220, 234; 237 Undina, 15, 60 War and Peace, 175,177,182,192,194-6, 198, շօօքհ, 202, 20761, 209 love theme (Natasha), 177,178,182,183-5, 185SC, 186,192,202, 20761 time signature On Desert Islands, 12 The Gambler, 45, sofa Khan Buzay, 244 Lovefor Three Oranges, 68 Semyon Kotko, 146 The Story of a Real Man, 228,231 Undina, 14 War and Peace, 191 tonality, 6261 Betrothal in a Monastery, 153 The Fiery Angel, 103-5 The Giant, 10-11 Khan Buzay, 244 Lovefor Three Oranges, 63-4,7661 Semyon Kotko, 122 The Story of a Real Man, 226, 236 War and Peace, 220 tone poem, 22,91 tremolos The Fiery Angel, 95-6, 97 The Gambler, 43 Khan Buzay, 247 Love for Three Oranges, 69,76 Maddalena, 19, 20, 22-3,24; 3°, it Semyon Kotko, 133,134 The Story of a Real Man, 228,231,236 Undina, 15 tritones The Fiery Angel, 94 The Gambler, 32,46 Lovefor Three Oranges, 32,68,76 Maddalena, 22,26,27,31,32 tutti The Gambler, 46,48 Semyon Kotko, 134 to/in the United States, 16,57,60,9361,119, 127 wives see Codina, Caroima; Mendelson, Mira working methods, 3,4,11961 Betrothal in a Monastery, 151-2,153-4,158, l6l The Gambler, 31,32,36 Khan Buzay, 243-4 Lovefor Three Oranges, 60,62-3 Semyon
Kotko, 126,128 War and Peace, 172,207,208 writing for female characters Fata Morgana in Lovefor Three Oranges, 30 Maddalena, 22,27,30-1,71,88 Paulina in The Gambler, 30-1,88 Renata in the Fiery Angel, 30-1,71,88,97, 106 The Story of a Real Man, 234 Undina, 15,88 Zhdanovshchina (music purge of 1948), 12361 prokobiev’s chamber music String Quartet no. 1 in В minor op. 50,120 ‘white quartet’ (abandoned string quartet for white notes), 93 + 61 prokofiev’s incidental music Egyptian Nights, 120 Eugene Onegin op. 71, s prokofiev’s orchestral writing, 15-17, 22, 27, 12, 35; 90, 219fa Autumnal Sketch op. 8,15,16 Cinderella op. 87,1961,1Ć9 On the Dnieper op. 51,120 Dreams op. 6,15,16,19,35 for film, 4,5,133,160 + fa, 170 Ode to the End of the War op. 105,239 The Prodigal Son op. 46,120 Romeo and Juliet op. 64,1961,120 Scythian Suite/Ala and Lolly op. 20,16,80, 119
285 INDEX Suitefrom Lieutenant Kije op. 60,120 Symphony no. 1 in D 'Classical’ op. 25, 15161,169 Symphony no. 2 in D minor op. 40,91 Symphony no. 3 in C minor op. 44; 79 Ն 91,102 Symphony no. s in В flat op. 100,239 Symphony no. 6 in E flat minor op. in, 239 prokoeiev’s piano music, 20,27,30,31, 32; 35; 59; 62 + fil, 73, 78 apprentice works, 9,12 + fh, 15-17,176i; i9; 56, 6461, 75; 90 Études op. 2,35,6261 The Fiery Angel piano score, 82 The Gambler piano score, 33, 34 The Giant piano score, 9,11 Little Songs (Pesenki), 9,11,17 + fii Maddalena piano score, 19, 22 Piano Concerto no. 1 op. 10,17 Piano Sonata no. 2 op. 14,6շքհ Piano Sonata no. 4 op. 29, nfh Pieces for Piano op. 4, 35,6261 no. 4 ’Diabolical Suggestions’, 80 Sarcasms op. 17, 6261, 6461, 80 Toccata in D minor op. 11,6261 Undina piano score, 11,14,15 Visions Fugitives op. 22, 6461 see also Prokofiev, Sergei: as pianist prokoeiev’s vocal pieces ‘Musical Letter to Boris Zahkarov’, 53 Seven Songsfor Voice and Piano op. 79 ‘The Song of the Motherland’, 21561 Seven, They Are Seven (fremerò ikh) op. 30, 16,80 Six Songs for choir and piano op. 66,120 ‘Tell me, little twig of Palestine’ (Skazhi mne, vetka Palestini), 14 Twelve Russian Folk Songs op. 104, 226 Two Choral Songs op. 7,19 Puccini, Giacomo: Gianni Schicchi, 15161 Pushkin, Alexander, 12,147, 208 Rachmaninov, Sergei, 16,62 Radio Committee, Moscow, 151 revolutions February 1917, 34 October 1917,123 Rimsky-Korsakov, Nikolai, 1361,1961, 69, 23961 Sabinina, Marina Dmitrievna, 12461,126,131, 132,146,186, 23461,239, 243 Samosud, Samuil, 180 + fii, 182, 214 Saradzhev,
Konstantin, 18 Schumann, Robert: Warum, 16-17 Scottish Opera, 6 Scriabin, Alexander, 16,20,35,90,119 Serban, Andrei: quoted, 89 Sheridan, Richard Brinsley: The Duenna, 149, 150,152 + fii, 158,160 + fn, 168,169 Shlifshtein, Semyon, 179-80 Shostakovich, Dmitri, 12361,170,213 Lady Macbeth ofMtsensk op. 29,122,129 Siloti, Alexander, 33 Socialist Realism, 120,123,125,127,128,211 Solov’ev-Sedoi, Vasily, 214 Spaak, Paul, 35 + 61,52,54 + fii Stahl, Alexei, 82 + fn Stalin, Joseph/Stalinism, 121, 200, 212 + fn Stalin Prize, 128,147, 213 + fn St Petersburg/Leningrad/Petrograd, 4,3461, 174 Academic Theatre of Opera and Ballet/ Kirov Iheatre/Mariinsky Theatre, 33 + fn, 34,60,78, 8961,13361,213, 21561 Conservatory, 13 + fii, 16,18,6261, 215 Imperial Theatres, 33,57 Strauss, Richard, 15,16,18,30, 35, 5761,90 Stravinsky, Igor, 36,62 + fii, 119,147 and neoclassicism, 6261 Nightingale, 6ofii Pribaoutki, 2661 Renard, 6061 Svadebka, 5461 Suvchinsky. Pyotr, 85 Szigeti, Joseph, 85 Taruskin, Richard, 53 + 61, 8ofn quoted, 1461,7661, 92,15161,154 On Russian Music: quoted, 1461, 5461,59, 80,1Ć8, 210, 213,226 Tchaikovsky, Pyotr, 1361,16,30,12661,180 Eugene Onegin, 129,219 Hie Queen of Spades (Pique dame), 49 Sleeping Beauty, 9 Tcherepnin, Nikolai: quoted, 17-18 Tolstoy, Alexei, 122 Tolstoy, Leo, 183,202, 208
286 INDEX Museum, 173 Resurrection, 173 War and Peace, 171,172-9,17261,17661, 181-2,186, 207-8,20861,209 Venice Teatro La Fenice, 79 Verdi, Giuseppe, 6 Falstaff, 15161 La Traviata, 127 as a familiar masterpiece, 219,231 quoted, 174,177,181-2,20061,20261, 234 see also Prokofiev s operas: War and Peace Tyshler, Alexander, mill Wagner, Richard, 53-4,106 Walter, Bruno, 81-2 Wihtol, Joseph, 13 + 61 Union of Soviet Composers, 12361,147,214 Zatayevich, Aleksandr, 239 + 61, 243,244 v Bayerische Staatsbibliothek München --------- |
| any_adam_object | 1 |
| author | Guillaumier, Christina ca. 20./21. Jh |
| author_GND | (DE-588)1030245657 |
| author_facet | Guillaumier, Christina ca. 20./21. Jh |
| author_role | aut |
| author_sort | Guillaumier, Christina ca. 20./21. Jh |
| author_variant | c g cg |
| building | Verbundindex |
| bvnumber | BV046316431 |
| classification_rvk | LP 94068 |
| ctrlnum | (OCoLC)1153994880 (DE-599)BVBBV046316431 |
| discipline | Musikwissenschaft |
| format | Book |
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Jh.</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)1030245657</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">The operas of Sergei Prokofiev</subfield><subfield code="c">Christina Guillaumier</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Woodbridge</subfield><subfield code="b">The Boydell Press</subfield><subfield code="c">2020</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">286 Seiten</subfield><subfield code="b">6 Illustrationen, 5 Portraits, Notenbeispiele</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The operas of Sergei Prokofiev (1891-1953) mark a significant contribution to twentieth-century music and theatre. Opera was Prokofiev's preferred genre; not counting juvenile and unfinished works, he wrote a total of eight. Yet, to date, little has been published about the context, rationale or musical and compositional processes behind this output. While systematic studies of Prokofiev's symphonies and his ballets exist, the operas have come under no such scrutiny. This book is the first in the English language to engage with the composer's operatic output in its entirety and provides a contextual, critical and musico-analytical account of all of Prokofiev's operas, including those juvenile works that are unpublished as well as the incomplete works composed towards the end of his life. It also includes synopses of the operas. Drawing on a wealth of archival material and other sources, the book provides the compelling untold story of Prokofiev the opera composer.CHRISTINA GUILLAUMIER is a pianist and music historian with an early background in the dramatic arts. 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| id | DE-604.BV046316431 |
| illustrated | Illustrated |
| indexdate | 2024-09-03T00:06:40Z |
| institution | BVB |
| isbn | 9781783274482 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-031693511 |
| oclc_num | 1153994880 |
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| owner_facet | DE-703 DE-11 DE-12 DE-19 DE-BY-UBM |
| physical | 286 Seiten 6 Illustrationen, 5 Portraits, Notenbeispiele |
| psigel | BSB_NED_20200514 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
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| publisher | The Boydell Press |
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| spelling | Guillaumier, Christina ca. 20./21. Jh. Verfasser (DE-588)1030245657 aut The operas of Sergei Prokofiev Christina Guillaumier Woodbridge The Boydell Press 2020 286 Seiten 6 Illustrationen, 5 Portraits, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier The operas of Sergei Prokofiev (1891-1953) mark a significant contribution to twentieth-century music and theatre. Opera was Prokofiev's preferred genre; not counting juvenile and unfinished works, he wrote a total of eight. Yet, to date, little has been published about the context, rationale or musical and compositional processes behind this output. While systematic studies of Prokofiev's symphonies and his ballets exist, the operas have come under no such scrutiny. This book is the first in the English language to engage with the composer's operatic output in its entirety and provides a contextual, critical and musico-analytical account of all of Prokofiev's operas, including those juvenile works that are unpublished as well as the incomplete works composed towards the end of his life. It also includes synopses of the operas. Drawing on a wealth of archival material and other sources, the book provides the compelling untold story of Prokofiev the opera composer.CHRISTINA GUILLAUMIER is a pianist and music historian with an early background in the dramatic arts. She is Head of Undergraduate Programmes at the Royal College of Music. Her research interests include Russian and Soviet music and opera, piano music and genetic criticism. She is the recipient of several research awards including from the Arts and Humanities Research Council (AHRC), the European Union, the American Musicological Society and the Russian Federation. Recent publications include a co-edited series of landmark essays entitled Rethinking Prokofiev. (Quelle: https://www.amazon.de/dp/1783274484) Prokofʹev, Sergej Sergeevič 1891-1953 (DE-588)118596721 gnd rswk-swf Oper (DE-588)4043582-9 gnd rswk-swf Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Prokofʹev, Sergej Sergeevič 1891-1953 (DE-588)118596721 p Oper (DE-588)4043582-9 s Musikalische Analyse (DE-588)4040814-0 s DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031693511&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031693511&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031693511&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Guillaumier, Christina ca. 20./21. Jh The operas of Sergei Prokofiev Prokofʹev, Sergej Sergeevič 1891-1953 (DE-588)118596721 gnd Oper (DE-588)4043582-9 gnd Musikalische Analyse (DE-588)4040814-0 gnd |
| subject_GND | (DE-588)118596721 (DE-588)4043582-9 (DE-588)4040814-0 |
| title | The operas of Sergei Prokofiev |
| title_auth | The operas of Sergei Prokofiev |
| title_exact_search | The operas of Sergei Prokofiev |
| title_full | The operas of Sergei Prokofiev Christina Guillaumier |
| title_fullStr | The operas of Sergei Prokofiev Christina Guillaumier |
| title_full_unstemmed | The operas of Sergei Prokofiev Christina Guillaumier |
| title_short | The operas of Sergei Prokofiev |
| title_sort | the operas of sergei prokofiev |
| topic | Prokofʹev, Sergej Sergeevič 1891-1953 (DE-588)118596721 gnd Oper (DE-588)4043582-9 gnd Musikalische Analyse (DE-588)4040814-0 gnd |
| topic_facet | Prokofʹev, Sergej Sergeevič 1891-1953 Oper Musikalische Analyse |
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