Prokofiev 6 Operas

DSpace Repository

Prokofiev 6 Operas

Show simple item record

dc.contributor.other Sergey Prokofiev es
dc.contributor.other Kirov Opera and Orchestra of the Marinsky Theatre es
dc.contributor.other Valery Gergiev es
dc.coverage.spatial Netherlands - Amsterdam es
dc.date.accessioned 2014-06-12T15:53:22Z
dc.date.available 2000
dc.date.available 2014-06-12T15:53:22Z
dc.date.copyright 2010
dc.date.issued 2014-06-12
dc.identifier.uri http://hdl.handle.net/123456789/4488
dc.description.abstract In breathing new life into the symphony, sonata, and concerto, Sergey Prokofiev emerged as one of the truly original musical voices of the twentieth century. Bridging the worlds of pre-revolutionary Russia and the Stalinist Soviet Union, Prokofiev enjoyed a successful worldwide career as composer and pianist. As in the case of most other Soviet-era composers, his creative life and his music came to suffer under the duress of official Party strictures. Still, despite the detrimental personal and professional effects of such outside influences, Prokofiev continued until the end of his career to produce music marked by a singular skill, inventiveness, and élan. As an only child (his sisters had died in infancy), Prokofiev lived a comfortable, privileged life, which gave him a heightened sense of self-worth and an indifference to criticism, an attitude that would change as he matured. His mother taught him piano, and he began composing around the age of five. He eventually took piano, theory, and composition lessons from Reyngol'd Gliere, then enrolled at the St. Petersburg Conservatory when he was 13. He took theory with Lyadov, orchestration with Rimsky-Korsakov, and became lifelong friends with Nicolai Myaskovsky. After graduating, he began performing in St. Petersburg and in Moscow, then in Western Europe, all the while writing more and more music. Prokofiev's earliest renown, therefore, came as a result of both his formidable pianistic technique and the works he wrote to exploit it. He sprang onto the Russian musical scene with works like the Sarcasms, Op. 17 (1912-1914), and Visions fugitives, Op. 22 (1915-1917), and his first few piano sonatas. He also wrote orchestral works, concertos, and operas, and met with Diaghilev about producing ballets. The years immediately after the Revolution were spent in the U.S., where Prokofiev tried to follow Rachmaninov's lead and make his way as a pianist/composer. His commission for The Love for Three Oranges came from the Chicago Opera in 1919, but overall Prokofiev was disappointed by his American reception, and he returned to Europe in 1922. He married singer Lina Llubera in 1923, and the couple moved to Paris. He continued to compose on commission, meeting with mixed success from both critics and the public. He had maintained contact with the Soviet Union, even toured there in 1927. The Love for Three Oranges was part of the repertory there, and the government commissioned the music for the film Lieutenant Kijé and other pieces from him. In 1936, he decided to return to the Soviet Union with his wife and two sons. Most of his compositions from just after his return, including many for children, were written with the political atmosphere in mind. One work which wasn't, was the 1936 ballet Romeo and Juliet, which became an international success. He attempted another opera in 1939, Semyon Kotko, but was met with hostility from cultural ideologues. During World War II, Prokofiev and other artists were evacuated from Moscow. He spent the time in various places within the U.S.S.R. and produced propaganda music, but also violin sonatas, his "War Sonatas" for piano, the String Quartet No. 2, the opera War and Peace, and the ballet Cinderella. In 1948, with the resolution that criticized almost all Soviet composers, several of Prokofiev's works were banned from performance. His health declined and he became more insecure. The composer's last creative efforts were directed largely toward the production of "patriotic" and "national" works, typified by the cantata Flourish, Mighty Homeland (1947), and yet Prokofiev also continued to produce worthy if lesser-known works like the underrated ballet The Stone Flower (1943). In a rather bitter coincidence, Prokofiev died on March 5, 1953, the same day as Joseph Stalin. © AMG, All Music Guide es
dc.description.tableofcontents CD 8-- Love for three oranges (Opera in a prologue and four acts Op. 33) ; Prologue (Tragedy! Tragedy! (Tragicals, Comicals, Lyricals, Empty-heads, Eccentrics, Herald), Act one Scene 1 : ‘The royal palace’ My poor son! (King, Physicians, Pantaloon, Eccentrics), Games? Entertainments? Quite useless (King, Pantaloon, Truffaldino, Eccentrics, Leander), Scene 2 : ‘Against a cabbalistic backdrop’ It’s chelio the magician (Eccentrics, Little devils, Chelio, Fata morgana), Scene 3 : ‘The royal palace’ All my desires are thwarted (Leander, Clarissa, Tragicals, Eccentrics), Who’s that man? (Clarissa, Leander, Eccentrics, Smeraldina)-- Act two Scene 1 : ‘The bedroom of the hypochondriac prince’ Was that funny? Not a bit (Truffaldino, Prince, Eccentrics, Comicals), Scene 2 : ‘The great courtyard of the royal palace’ Amusement number one! (Truffaldino, Courtiers, King, Prince, Leander, Fata morgana), Amusement number two! (Truffaldino, Courtiers, King, Prince, Fata morgana), Ha-ha… Ha-ha-ha… (Prince, Eccentrics, King, Courtiers), You savage! Hear me! Hear my curse! (Falta morgana, Little devils, Eccentrics), Three oranges… Three oranges… (Prince, Pantaloon, Truffaldino, Eccentrics, King), Are you raising your hand against your father? (King, Prince, Pantaloon, Empty-heads, Eccentrics, Truffaldino)-- CD 9-- Love for three oranges Op. 33 ; Act three Scene 1 : ‘A desert’ Farfarello! (Chelio, Farfarello), The wind’s dropped : Thas must mean the oranges are nearby (Prince, Truffaldino, Chelio), Scene 2 : ‘The courtyard of creonta’s castle’ Where are we? (Prince, Truffaldino), Who’s that whining out there? (Cook, (Truffaldino, Prince), Scene 3 : ‘The desert’ How can we carry on like this with no one blowing us from behind? (Prince, Truffaldino), I am princess linetta (Truffaldino, Nikoletta), Hey… Truffaldino… Truffaldino… (Prince), Yes I am princess ninetta! (Ninetta, Prince, Lyricals, Eccentrics), Smeraldina… with a pin… Fata morgana… There’s dirty works going on! (Eccentrics, Ninetta, Fata morgana, Prince, King, Smeraldina, Courtiers, Leander)-- Act four Scene 1 : ‘Against a cabbalistic backdrop’ Ah! You disgusting hag (Chelio, Fata morgana, Eccentrics), Scene 2 : ‘The throne-room of the royal palace’ Is the throne ready? (Leander, Master of Ceremonies, Courtiers, King, Pantaloon, Chelio, Eccentrics, Prince, Truffaldino, Clarissa), Guards bring the rope! (King, Truffaldino, Pantaloon, Master of Ceremonies, Courtiers, Fata morgana, Eccentrics)-- es
dc.format.extent 2 CD Stereo 4 3/4 plg es
dc.format.medium 1 CD Rom (50 min., 08 seg.) ; 2 CD Rom (51 min., 50 seg.) es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 654417291 es
dc.subject.lcsh Operas es
dc.title Prokofiev 6 Operas es
dc.title.alternative Prokofiev Love for Three Oranges Act I Act II es
dc.title.alternative Prokofiev Love for Three Oranges Act III Act IV es
dc.language.rfc3066 eng es
dc.rights.holder Decca Music Group Limited es
dc.identifier.classification 028947823155 es
dc.subject.cdu Pr.14 es


Files in this item

Files Length Size Format View Description
Love for three oranges Op. 33 - Act one.wav 26:53 271.3Mb WAV audio wav
Love for three oranges Op. 33 - Act two.wav 22:33 227.6Mb WAV audio wav
Love for three oranges Op. 33 - Act three.wav 39:20 397.0Mb WAV audio wav
Love for three oranges Op. 33 - Act four.wav 11:36 117.1Mb WAV audio wav

This item appears in the following Collection(s)

Show simple item record