Tag Archives: Prokofiev

Watch “Prokofiev-Romeo and Juliet ☆The World Orchestra ☆Josep Vicent” on YouTube


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Romeo and Juliet(Prokofiev)

Romeo and Juliet (Russian: Ромео и Джульетта), Op. 64, is a ballet by Sergei Prokofiev based on William Shakespeare‘s play Romeo and Juliet. Prokofiev reused music from the ballet in three suites for orchestra and a solo piano work.

Romeo and Juliet
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Commemorative coin depicting a scene from the ballet

Choreographer Ivo Váña-Psota
Music Sergei Prokofiev
Based on Romeo and Juliet
Premiere 1938
Mahen Theatre, Brno
Original ballet company Ballet of the National Theatre, Brno
Characters Ivo Váña-Psota as Romeo
Zora Šemberováas Juliet
Genre Drambalet

Background and premiereEdit

Based on a synopsis created by Adrian Piotrovsky (who first suggested the subject to Prokofiev)[1]and Sergey Radlov, the ballet was composed by Prokofiev in September 1935 to their scenario which followed the precepts of “drambalet” (dramatised ballet, officially promoted at the Kirov Ballet to replace works based primarily on choreographic display and innovation).[2] Following Radlov’s acrimonious resignation from the Kirov in June 1934, a new agreement was signed with the Bolshoi Theatre in Moscow on the understanding that Piotrovsky would remain involved.[3]

However, the ballet’s original happy ending (contrary to Shakespeare) provoked controversy among Soviet cultural officials.[4] The ballet’s production was then postponed indefinitely when the staff of the Bolshoi was overhauled at the behest of the chairman of the Committee on Arts Affairs, Platon Kerzhentsev.[5]The ballet’s failure to be produced within Soviet Russia until 1940 may also have been due to the increased fear and caution in the musical and theatrical community in the aftermath of the two notorious Pravda editorials criticising Shostakovich and other “degenerate modernists” including Piotrovsky.[6] The conductor Yuri Fayermet with Prokofiev frequently during the writing of the music, and he strongly urged the composer to revert to the traditional ending. Fayer went on to conduct the first performance of the ballet at the Bolshoi Theatre.

Suites of the ballet music were heard in Moscow and the United States, but the full ballet premiered in the Mahen Theatre, Brno (then in Czechoslovakia, now in the Czech Republic), on 30 December 1938.[7] This version was a single-act production with music mainly from the first two suites. Prokofiev was not able to attend the premiere due to his status of outbound restriction.

1940 Kirov productionEdit

Galina Ulanova and Yuri Zhdanov in the ballet

It is better known today from the significantly revised version that was first presented at the Kirov Theatre(now Mariinsky Theatre) in Leningradon 11 January 1940, with choreography by Leonid Lavrovskyand with Galina Ulanova and Konstantin Sergeyev in the leading roles. Despite the objections of Prokofiev, Lavrovsky significantly changed the score of the ballet. This production received international acclaim and was awarded the Stalin Prize.

In 1955, Mosfilm made the film version of this production with Galina Ulanova as Juliet and Yuri Zhdanov as Romeo. This film won the Best Lyrical Film and nominated as Palme d’Or in the 1955 Cannes Film Festival.

Original Cast

Revivals and other productionsEdit

In 1955, Frederick Ashtonchoreographed a production of Romeo and Juliet for the Royal Danish Ballet.

In 1962, John Cranko‘s choreography of Romeo and Juliet for the Stuttgart Ballet helped the company achieve a worldwide reputation. It had its American premiere in 1969.

In 1965, choreographer Sir Kenneth MacMillan’s version for the Royal Ballet premiered at the Royal Opera House, Covent Garden. Margot Fonteyn and Rudolf Nureyev danced the title roles. Fonteyn, considered to be near retirement, embarked upon a rejuvenated career with a partnership with Nureyev. Also in 1965, Oleg Vinogradov stages a version in Russia while serving as assistant ballet master to Pyotr Gusev.

In 1971, John Neumeier, partly inspired by John Cranko, created another version of the ballet in Frankfurt. In 1974, Neumeier’s Romeo and Juliet premiered in Hamburg as his first full-length ballet with the company.

In 1977, Rudolf Nureyev created a new version of Romeo and Juliet for the London Festival Ballet, today’s English National Ballet. He performed the lead role of Romeo with British ballerina Patricia Ruanne creating the role of Juliet. As a partnership, they toured the production internationally, and it continues to be a popular ballet in the ENB repertoire, with its most recent revival in 2010 staged by Patricia Ruanne and Frederic Jahn of the original 1977 cast. This production was also staged by La Scala Theater Ballet in 1980 and Paris Opera Balletin 1984 and has been a renowned performance in the POB repertoire.

In 1979, Yuri Grigorovich created a new version for the Bolshoi, “which did away with most of the stage properties and stylized the action into an all-danced text.” This was revived in 2010 and remains in the Bolshoi repertory.[8]

A 2010 production at the Royal Swedish Opera

In 1985, choreographer László Seregi‘s production premiered at the Hungarian National Ballet, Budapest.

A 2014 Krzysztof Pastor’s production at the Polish National Ballet, dancers: Vladimir Yaroshenko and Maria Żuk

In 1996, choreographer Jean-Christophe Maillot premiered his version of Roméo et Juliette at Les Ballets de Monte Carlo. Taking formal inspiration from the episodic character of Sergei Prokofiev’s classic score, Maillot structured the action in a manner akin to cinematic narrative. Rather than focusing on themes of political-social opposition between the two feuding clans, this Romeo and Juliet highlights the dualities and ambiguities of adolescence.

In 2007, Peter Martins made Romeo + Juliet on New York City Ballet to the Prokofiev music.

In 2008, Krzysztof Pastor presented his version by the Scottish Ballet at the Edinburgh Festival Theatre. The Polish premiere of this version was by the Polish National Ballet in Warsaw, and the United States premiere was by the Joffrey Ballet in 2014.

On July 4, 2008, with the approval of the Prokofiev family and permission from the Russian State Archive, the original Prokofiev score was given its world premiere. Musicologist Simon Morrison, author of The People’s Artist: Prokofiev’s Soviet Years, unearthed the original materials in the Moscow archives, obtained permissions, and reconstructed the entire score. Mark Morris created the choreography for the production. The Mark Morris Dance Group premiered the work at the Fisher Center for the Performing Arts at Bard College in New York state. The production subsequently began a year-long tour to include Berkeley, Norfolk, London, New York, and Chicago.

In 2011, the National Ballet of Canadapremiered a new choreography of Romeo and Juliet by Alexei Ratmanskyin Toronto, with plans to take it on tour in Western Canada in early 2012.

ScoreEdit

InstrumentationEdit

In addition to a somewhat standard instrumentation, the ballet also requires the use of the tenor saxophone. This voice adds a unique sound to the orchestra as it is used both in solo and as part of the ensemble. Prokofiev also used the cornet, viola d’amore and mandolins in the ballet, adding an Italianate flavor to the music.

Full instrumentation is as follows:

historic musical bits: Abbado conducts Prokofiev – Symphony No. 1 in D major ‘Classical’, Op. 25


Abbado conducts Prokofiev – Symphony No. 1 in D major ‘Classical’, Op. 25

Romeo and Juliet: Sergei Prokofiev – Romeo and Juliet – Dance of the knights, great compositions/performances


Prokofiev – Romeo and Juliet – Dance of the knights

 
 
 
 
 

Prokofiev “War” Sonata #7 Valentina Lisitsa 1st mov. Allegro Inquieto: Great compositions/performaces


Prokofiev “War” Sonata #7 Valentina Lisitsa 1st mov. Allegro Inquieto

Sergei Prokofiev – Overture on Hebrew Themes, Op. 34: make music part of your life series


Sergei Prokofiev – Overture on Hebrew Themes, Op. 34

Prokofiev – Piano Concerto No. 1, Op. 10: make music part of your life series


Prokofiev – Piano Concerto No. 1, Op. 10

Romeo and Juliet Overture – Prokofiev: make music part of your life series



from

Romeo and Juliet Overture – Prokofiev

Performed by the KU Symphonic Orchestra

Prokofiev: Piano Concerto n. 2 – Yefim Bronfman: make music part of your life series



From:

orso1149  orso1149

Prokofiev: Piano Concerto n. 2 – Yefim Bronfman

Yefim Bronfman plays the Prokofiev’s Piano Concerto n. 2 in G minor op. 16
Andantino – Allegretto, Scherzo, Intermezzo, Allegro tempestoso
Vassily Sinaisky conducts the Rai National Symphony Orchestra (Orchestra Sinfonica Nazionale della Rai)
Giampaolo Pretto, flute
Turin, 1997

Sergei Prokofiev – Troika/Romance (from Lieutenant Kije Suite, Op. 60) : great compositions/performances


 FROM:

Sergei Prokofiev – Troika/Romance (from Lieutenant Kije Suite, Op. 60)

Title of Composition: Lieutenant Kije Suite, Op. 60
Composer: Sergei Prokofiev
Created in: 1933
Orchestra: Los Angeles Philharmonic
Conductor: Andre Previn
Recorded in: 1986

The CD is available for purchase at either Arkivmusic:
http://www.arkivmusic.com/classical/a…

Or at Amazon (MP3 is also available):
http://www.amazon.com/Prokofiev-Alexa…

The CD also includes Alexander Nevsky, Op. 78, a cantata that’s also composed by Prokofiev.

The images in the video are not my own.
The first image can be found here: http://www.publicdomainpictures.net/v…
The second image can be found here: http://www.publicdomainpictures.net/v…
This recording of Lieutenant Kije Suite is owned by Telarc.

From Wikipedia, the free encyclopedia

Lieutenant Kijé[1] (Russian: Поручик Киже, Poruchik Kizhe) is the score composed by Sergei Prokofiev for the 1934 Soviet film Lieutenant Kijé directed by Aleksandr Faintsimmer based on the novel of the same title by Yury Tynyanov.

Movements

The suite, in five movements broadly follows the plot of the movie:[2]

  1. Kijé’s Birth. A clerk, while writing out the morning orders for his Imperial majesty Tsar Paul, miscopies two words, creating a Lieutenant “Kijé”. The Tsar learns of his “existence”, and issues numerous orders concerning him. The palace administrators have no choice but to carry them out.
  2. Romance. The fictional lieutenant falls in love.
  3. Kijé’s Wedding. Since the Tsar prefers his heroic soldiers to be married, the administrators concoct a fake wedding.
  4. Troika.
  5. Kijé’s Burial. The administrators finally rid themselves of the non-existent lieutenant by saying he has died.

Première

1937, Paris

Instrumentation

Baritone voice (sometimes performed as tenor saxophone).

2 flutes, piccolo, 2 oboes, 2 clarinets, tenor saxophone (sometimes performed on bassoon), 2 bassoons, 4 horns, 2 trumpets, cornet, 3 trombones, tuba, 3 percussionists (cymbals, sleigh bells, triangle, bass drum, snare drum, tambourine), harp, piano or/and celeste, and strings.

 

 

Prokofiev – Piano sonata n°6 – Richter Locarno 1966 (great compositions/performances)


[youtube.com/watch?v=HPaAXDhbhNY]

Prokofiev – Piano sonata n°6 – Richter Locarno 1966

Sergei Prokofiev:
Piano sonata n°6 op.82

I. Allegro moderato 0:00
II. Allegretto 8:55
III. Tempo di valzer lentissimo 12:45
IV. Vivace 19:07

Sviatoslav Richter
Live recording, Locarno, 18.IX.1966

Prokofiev – Romeo & Juliet – Leningrad / Mravinsky


[youtube.com/watch?v=DXyv4SZmKyY]

Prokofiev – Romeo & Juliet – Leningrad / Mravinsky

Prokofiev - Romeo and Juliet

Prokofiev – Romeo and Juliet

Make Music Part of Your Life Series: Prokofiev – Romeo And Juliet – Juliet As A Young Girl


[youtube.com/watch?v=9ITSmOC2dS8]

Prokofiev – Romeo And Juliet – Juliet As A Young Girl

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Make Music Part of Your Life Series: Prokofiev in a Club! Sonata #7 Yellow Lounge Amsterdam Lisitsa



One day in a future the ‘traditional” concert halls will go the way of ‘traditional” movie theaters = disappear from use. I told you before – the BEST place to listen to the piano is directly under it. But try that in Concergebouw or Carnegie Hall _ they will call police on you 😉 Not so in a club . Yellow Lounge Amsterdam March 19th 2014 – http://www.trouwamsterdam.nl An ultimate experience listening to Prokofiev . Never mind the tinny captured recording – it was Imperial after all and it RRRRrrrocked – just ask the willing “victims” 🙂

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Sergei Prokofiev – Symphony No. 1 in D major “Classical”, Op. 25



Sergei Prokofiev began work on his Symphony No. 1 in D major (Op. 25) in 1916, but wrote most of it in 1917, finishing work on September 10. It is written in loose imitation of the style of Haydn (and to a lesser extent, Mozart), and is widely known as the Classical Symphony, a name given to it by the composer. It premiered on April 21, 1918 in Petrograd, conducted by Prokofiev himself, and has become one of his most popular and beloved works.

The symphony can be considered to be one of the first neoclassical compositions. However, although it was composed in an attempt to emulate the style of Joseph Haydn, it does not do so strictly, and strongly reflects modern compositional practices and Prokofiev’s own voice. The work was partly inspired by his conducting studies at the Saint Petersburg Conservatory‎, where the instructor, Nikolai Tcherepnin, taught his students about conducting Haydn, among other composers.

The symphony is in four movements:

– Allegro 0:00
Larghetto 3:50
– Gavotta: Non troppo allegro 7:45
– Finale: Molto vivace 9:22

Conductor: Kurt Masur
Orchestra: Dresdner Philharmonie