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Behind the Scenes of the Fiery Angel: Prokofiev's Character

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CORE Metadata, citation and similar papers at core.ac.uk Provided by ASU Digital Repository Behind the Scenes of The Fiery Angel: Prokofiev's Character Reflected in the Opera by Vanja Nikolovski A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2018 by the Graduate Supervisory Committee: Brian DeMaris, Chair Jason Caslor James DeMars Dale Dreyfoos ARIZONA STATE UNIVERSITY May 2018 ABSTRACT It wasn’t long after the Chicago Opera Company postponed staging The Love for Three Oranges in December of 1919 that Prokofiev decided to create The Fiery Angel. In November of the same year he was reading Valery Bryusov’s novel, “The Fiery Angel.” At the same time he was establishing a closer relationship with his future wife, Lina Codina. For various reasons the composition of The Fiery Angel endured over many years. In April of 1920 at the Metropolitan Opera, none of his three operas - The Gambler, The Love for Three Oranges, and The Fiery Angel - were accepted for staging. He received no additional support from his colleagues Sergi Diaghilev, Igor Stravinsky, Vladimir Mayakovsky, and Pierre Souvchinsky, who did not care for the subject of Bryusov’s plot. Despite his unsuccessful attempts to have the work premiered, he continued working and moved from the U.S. to Europe, where he continued to compose, finishing the first edition of The Fiery Angel. He married Lina Codina in 1923. Several years later, while posing for portrait artist Anna Ostroumova-Lebedeva, the composer learned about the mysteries of a love triangle between Bryusov, Andrey Bely and Nina Petrovskaya. It was then that Prokofiev’s characters took shape, reflecting the conflicting relationships in Bryusov’s real life and characters from the novel, as well as themes from Prokofiev’s own life. This paper will discuss Prokofiev’s third opera, The Fiery Angel. In addition to brief biographical, character, and plot information, topics will include issues Prokofiev encountered with creating the libretto, the relationship between his real-life love triangle and that depicted in the opera, and the impact Prokofiev’s ever-evolving relationship with religion and the occult had on the work. i DEDICATION In memory of my brother, Sasha Nikolovski Gjumar. ii ACKNOWLEDGMENTS There are many people whom, both directly and indirectly, had a tremendous influence on my decision to write this paper. First, I would like to acknowledge all of the music educators and professors I have had throughout my education. Next, I would like to thank my first mentor, Dr. William Reber, who patiently worked with me for several years, as well as my current mentor and chair, Brian DeMaris, who unselfishly took over and guided me to the end of my studies. The completion of this thesis would not have been possible without the support and encouragement of several special people. I would like to take this opportunity to show my gratitude to those who have assisted me in different but unique ways: Dragica Vasilevska, an ASU professor specializing in computer physics, for motivating and believing in me from the beginning; Heidi Grimes, my director at East Valley Yamaha Music School, for giving me enough spare time to focus on my work and fully understanding my life decisions; Deanna Rusnock, my best student, for the constant inspiration and positive energy spread to me and my work; and Olgica Trenchevska, a scientist, for dedicating her time, helping me organize my ideas and keeping me sane and calm. Finally, I would like to thank my family to whom I owe a great deal. To my wife Frosina, thank you for the incredible support, love, and understanding, as well as my precious children Daria-Dasha and Demian-Gjumar. I owe everything I have accomplished to this point to all three of them! iii TABLE OF CONTENTS CHAPTER Page 1 INTRODUCTION AND BACKGROUND………....……………………………1 Sergei Prokofiev (1891-1953)……………………………….................... 1 Characters…………………….………………………………....................2 Synopsis……………………….………………………………....................3 2 PROKOFIEV’S PERSONAL LOVE TRIANGLE………………..........................5 Prokofiev’s character……………………………………………………. 5 Life Love Triangle…….…………………………..................................... 7 3 “CHRISTIAN” PROKOFIEV…………………………………………………… 13 4 “DEMONIC” PROKOFIEV……..…………………………………...…………. 18 5 MYSTERY AND CONTRADICTION……………………………..…………… 23 6 CONCLUSION…………………………………….……………………………. 28 REFERENCES……………………………………………………………………………30 iv PREFACE How did the actual idea to write a research paper about Sergei Prokofiev’s opera The Fiery Angel materialize? In 1997, I resided in St. Petersburg, Russia to finish my specialization in conducting. During my stay, the Mariinsky Theatre became my second home. Not missing a single performance, one day I saw that they would perform Prokofiev’s opera. It would be running for an entire month and thanks to my curiosity, I familiarized myself with the complete repertoire and intended to be present at each one. Very fortunate to obtain permission to attend the rehearsals directly from maestro Valery Gergiev, I did not miss my opportunity. The overall impression was remarkable. The first performance was highly inspirational for me both personally and professionally, providing an immense desire to become closely acquainted with this unique opera. After twenty years of contemplating this piece, I had the opportunity to examine the opera academically, if not in performance. I decided to focus on Prokofiev’s controversial portrayal of the characters, as related to his life and the difficulties he encountered in having the work produced. v CHAPTER 1 INTRODUCTION AND BACKGROUND Sergei Prokofiev’s The Fiery Angel is his third opera, written between 1919 and 1927. The creation of this work took place over varying circumstances, including changes in social and political life in the USSR, as well as those in Prokofiev’s personal life. The Fiery Angel, both the novel and the opera, are symbolic works, enabling different points of view, which, even today, give the possibility of different interpretations. This maintains the novelty of the opera, which has been staged more often in the last fifteen years than it had been in the past. Sergei Prokofiev (1891-1953) As several in-depth biographies of Sergei Prokofiev have already been written, it is not within the scope of this document to delve into and expand upon those previous examinations. For the purposes of this paper, the abbreviated biography from Music Sales Classical will suffice: Sergei Prokofiev received his first piano instruction from his mother, who also encouraged composing. After studies with Gliere, he passed the entrance examination at the St. Petersburg Conservatory. There he studied with Rimsky-Korsakov and Liadov. He formed a lasting relationship with Sergei Diaghilev, who arranged his first performance outside Russia (Rome, 1915). The opera The Love of the Three Oranges and the Third Piano Concerto were premiered in Chicago in 1921. In Paris, where Prokofiev settled, Diaghilev produced his ballets during the years 1921-32. After returning to Russia, he composed Peter and the Wolf, the opera War and Peace, and the ballets Romeo and Juliet and Cinderella. He died in 1953.1 1 “Sergei Prokofiev,” Music Sales Classical, accessed March 23, 2018. http://www.musicsalesclassical.com/composer/short-bio/Sergei-Prokofiev. 1 Characters Ruprecht a knight Renata a maiden loved by Ruprecht Landlady Hostess of the Inn Peasant Fortuneteller Jacob Glock Bookseller Agrippa von Nettesheim Doctor of Philosophy Count Heinrich Mathias Wissmann a university friend of Ruprecht’s Angelika the Indian Doctor Mephistopheles Johann Faust Doctor of Philosophy and Medicine Cologne Innkeeper Servant Boy Neighbors Three Skeletons Mother Superior Inquisitor Nuns Spirits Acrobatic Troupe, based on Prokofiev’s idea of depicting demons on the stage. 2 Synopsis For the purposes of this examination of The Fiery Angel, a previously-crafted synopsis of the libretto from the Bolshoi Theatre of Russia is used below: Act I Scene 1. Ruprecht, a traveler, arrives to a rented room where he is to stay for the night. He is distracted by noise coming from another room where he finds Renata, a woman possessed by spirits. Renata tells him her life story. As a young girl, she had seen a Fiery Angel, Madiel, who had become her friend but refused her physical love as she grew older. Later, she met the Count Heinrich who she thought was Madiel himself. They lived happily in his castle for a year but then he left her and she has been looking for him ever since. Ruprecht decides to join Renata in her travels and hopes to become her lover. Renata is eager to leave the rooms where she is being accused of being a prostitute, and continue to look for Heinrich. The Landlady brings in a fortune teller who predicts Renata bloody destiny. Ruprecht is furious and tries to attack the fortune teller but his knife is stopped by the supernatural forces. Renata and Ruprecht leave the rooms. Scene 2. Renata is reading a book on magic. Ruprecht is tired of looking for Heinrich but Renata will not give up. She also will not become Ruprecht’s lover, as she is still possessed by her Angel. Jacob Glock brings in two books on magic and promises Ruprecht to find another important cabbalistic study later in the day. Renata starts conjuring spirits. Knocks are heard on the walls, and both Renata and Ruprecht are excited and expect Heinrich to appear. As no one comes, Renata is desperate. Jacob Glock returns to take Ruprecht to Agrippa, an important magician posing as a scientist. Scene 3. In Agrippa’s study, Ruprecht is questioning him about matters of science and magic. Agrippa is convinced that the real magician is actually a scientist and a philosopher. Scene 4. Renata waits in front of Heinrich’s house. She sees Ruprecht who returns from Agrippa, and implores him to kill Heinrich and revenge her humiliation. Ruprecht, first in shock, finally agrees to a duel and challenges the Count.
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  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music

    Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music

    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.