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Sergei Prokofiev's operatic career exhibits a multitude of exceptional successes and failures, political and cultural idiosyncrasies and compromises, and bold convictions and uncertainties. Prokofiev considered himself an opera composer and showed his affinity for it from an early age, completing his first opera by age nine and continuing his work in the art form for the remainder of his life and career. Each opera takes on vastly different subjects, topics and time periods, evidence of his diverse selection of libretto sources. For his mature works, Prokofiev adapted literary works from Russia's nineteenth-century greats (Dostoyevsky and Tolstoy), a Russian twentieth-century symbolist author (Bryusov) and two socialist-realist authors (Katayev and Polevoy). He adapted two other operas from the eighteenth century with Richard Brinsley Sheridan's comic opera libretto for The Duenna and Carlo Gozzi's fiaba L'amore delle tre melarance.

This Special Issue of ARTS allocates considerable scholarly and analytical attention to the intricate exploration of performative traditions of experimentation within the Russian and Soviet milieus [...]

This research contributes to the studies on the origins and transformations of Tchaikovsky’s Children’s Album, Op. 39 using the linguistic methods of discourse, metaphor, and comparative analysis to explore a number of connected questions and their impact on how the audiences and scholars perceive and understand the compositions. These methods are supported by the technology provided by computational linguistics, such as large language models along with music analysis algorithms based on signature pattern elicitation. This article examines how artificial intelligence technologies can shed light on the differing views on the Children’s Album. The meanings and implications of the published reordering of the pieces are explored. The influence of Schumann’s Album for the Young and the broader pedagogical and cultural significance of editorial transformations is investigated. Through this interdisciplinary approach, this study offers new insights into the compositional intent and interpretive possibilities of Tchaikovsky’s work. The presented results of the musicology, literary, computational, and linguistic analyses complement the few scholarly studies aimed at unveiling the intriguing metaphors and connections of the Children’s Album, which tend to remain in the shadows of his larger-scale piano and symphonic works.

Fyodor Dostoevsky’s perspective on humankind and society continues to intrigue any reader, whether specialized or from other areas of activity, due to the universality of the topics and the complexity of the characters involved. The novel entitled depicts the life and specific concerns of 19th-century world society, a subject which attracted Sergey Prokofiev to compose a work with the same title, at the beginning of the 20 century. His opera is a unique work through the avant-garde musical language, the atypical construction of the discourse, the elements of style and conception of the libretto in relation to the original source. These elements generate a multiple correlation between the Dostoevskian prose, literary theory, the philosophy of language through studies and volumes of hermeneutic analysis, such as those signed by critic and semiotician Mikhail Bakhtin, on which we will focus our attention during this research. The terminology used by Bakhtin (dialogism, polyphony, ventrilogism, carnival) indicates a profound insight into the connection between Dostoevsky’s prose and the theatrical, dramatic, lyrical, musical aspects of the epic substratum in his novels. At the same time, Dostoevsky was an involuntary forerunner of the artistic movement initiated in Western Europe by German composers – Expressionism –, which also had echoes in the works of Russian composers from the first half of the last century, as we shall see in Sergey Prokofiev’s approach of

Bu araştırmada, İkinci Dünya Savaşı döneminin toplumsal, siyasi ve ekonomik değişimlerinin, klasik Batı müziği eserleri üzerindeki tematik, teknik ve biçimsel etkilerinin keman müziği bağlamında incelenmesi amaçlanmıştır. Bu doğrultuda savaş döneminin müzik politikaları ve devlet yöneticilerinin bestecileri ve dolayısıyla müziği nasıl yönlendirdiği ile ilgili bilgiler sunulmuştur. Bu dönemde müziğin ağırlıklı olarak propaganda amacıyla kullanıldığı, böylece savaşa katılan ve etkilenen devletlerin bestecileri ve yazılan eserleri ideolojik amaçlarla kullanım süreci de inceleme kapsamında tutulmuştur. Nazi Almanya’sı, Sovyet Rusya, Amerika ve İtalya gibi devletlerde uygulanan sansür ve baskıların, müzikal üretimini doğrudan şekillendirdiği, üretilen eserlerin içerik ve tematik yönden belli ideallere hizmet ettiği görülmektedir. Araştırmada, savaş dönemi ve sonrasında yazılan müzik eserlerinde milliyetçilik, propaganda, yas, kahramanlık gibi temaların, bestecilerin kullandıkları yenilikçi keman çalma teknikleri ile ifade edildiği ve bu tekniklerin sahip olduğu dinamikler incelenmiştir. İlgili keman çalma tekniklerinin ve eserde yansıtılan tematik içeriğin tespiti amacıyla çalışmada, savaş dönemini kapsayan sekiz yıllık süreçte bestelenmesi tamamlanan, Sergei Prokofiev’in Keman Sonatı No.1 Op.80 eseri incelenmiştir. Keşfedici türde ve belgesel tarama modelinde tasarlanan bu çalışmada, doküman analizi yöntemi ile toplanan veriler, içerik analizi yöntemi kullanılarak analiz edilmiş ve yorumlanmıştır. Araştırma sonucunda, Prokofiev’in eserinde bulunan keman çalma tekniklerinin belli anlatıları tasvir etme amacı taşıdığı, üretilen modern tekniklerin efektif tını oluşturma göreviyle kullanıldığı, eserin, bestelendiği dönemin özelliklerini yansıttığı ve Sovyet rejiminin ideallerine yönelik unsurlar barındırdığı tespit edilmiştir.

When Mark Morris's eagerly awaited Romeo and Juliet premiered in 2008, the critics--in London, Berkeley, and New York--mainly hated it. This Romeo, they said, lacked romance. Here, Scherr compares Morris's Romeo and Juliet to Sergei Prokofiev's play.

Sergei Prokofiev's The Fiery Angel (Ognennyi angel) has remained comparatively little studied among his operatic works, interpreted primarily as a parody of Russian symbolist beliefs and practice. In the last few years, however, new biographical information has emerged about the period during which Prokofiev wrote The Fiery Angel that points to ways of reconsidering the opera's compositional history and legacy. Furthermore, recent scholarship on the application of narrative theory to opera studies presents new methods for examining how opera might incorporate a narrative point of view. Combining these lines of inquiry, this article scrutinises Prokofiev's two complete versions of Angel (1923 and 1927) in the context of the composer's conversion to Christian Science during the intervening period. It argues that the 1927 version privileges its central character's point of view, as he experiences a process of spiritual awakening similar to the composer's own.

Why does a composer resort to changing any one of his compositions? Under what circumstances does the creative output need to be re-evaluated and perhaps reconsidered? Prokofiev?s final Seventh Symphony presents two endings different in mood and character, one subtler and the other more vivid. This paper examines the background behind the appearance of the alternative ending - most specifically an extended coda, which appeared as an indication of a conformist stance on Prokofiev?s part, an attempt to appease the regime and probably obtain the Stalin Prize, so essential to him. nema

In honor of Sergei Prokofiev's 125th anniversary in 2016, the author directed the Symposium on Prokofiev and the Russian Tradition at the College of Music & Dramatic Arts, Louisiana State University (LSU). The symposium, which took place February 25-27, 2016, featured 36 scholarly presentations on topics ranging from Prokofiev's manuscripts, compositional style, and analytical system to the music of other Soviet composers, including Shostakovich and Schnittke. The culminating event of the Symposium was the final concert at LSU's Union Theater. The performance was significant in several ways. First, it featured the fragments of Prokofiev's unfinished Piano Concerto No. 6, which was performed by pianists Michael Gurt and Gregory Sioles, piano faculty members at LSU. Second, the concert included Prokofiev's \"Music for Athletes,\" featuring two pianos and dancers.Simon Morrison introduced the concert, contextualizing both works within the history of the Soviet regime.

With Bob Boudreaux (Stanley, Norfolk), Rutherford Cravens (Hastings, Second Murderer), Sarah Cravens (Prince Edward, Young George Stanley), Jared Doreck (First Murderer, Richmond), Shannon Emerick (Queen Elizabeth), Jonathan Gonzalez (Archbishop), Philip Hays (Lord Grey, Catesby), Jovan Jackson (Lord Rivers, Tyrrel), Sean Patrick Judge (Clarence, Ratcliffe), Elissa Levitt (Duchess of York, Jane Shore), Crystal O'Brien (Lady Anne), Guy Roberts (Richard), Ben Russell (Duke of York), Catherine Tharp (Princess Elizabeth), Rebecca Greene Udden (Queen Margaret), David Wald (Buckingham, Brackenbury), and Steve Zinkgraf (King Edward IV, Earl of Oxford). The set was constructed entirely of trash: strings of plastic bottles hung upstage leftfor curtains, plastic netting covered the floor, and a central arch was composed of plastic chairs, toys, and household implements under bubble wrap. Miranda's dress was patched with different bits of cloth and she wore incongruous men's boots; Caliban's shirt included bits of plastic and a cracked CD; Prospero had draped many layers (including a frayed bath towel) around himself, and brandished a staffheld together with duct tape and crowned with a halo of plastic Easter eggs. An audience member seated in front of me at Houston Ballet's Romeo and Juliet noted that she did not need to review the synopsis in her program, since she already knew the plot, at least in its general outline.