Perm Version of the Opera by S. Prokofiev “Fire Angel”
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Abstract
The article examines the background and main principles of the directorʼs decision of the first production of S.S. Prokofiev’s play “The Fiery Angel”, held at the Perm Academic Opera and Ballet Theater named after P.I. Tchaikovsky on January 22, 1984. It is noted that the Perm stage version is characterized by very significant changes in the original source, known at that time only from the published clavier (Moscow: Muzyka, 1981). The author points out the alleged reasons for rethinking the opera text, which led to a change in the composition concept, the images of the main characters – Renata and Ruprecht, the dramatic role of the famous pair Faust – Mephistopheles. The article analyses the ways of work of the director E.E. Pasynkov with a source, such as permutations, re-textualizations, bills, bringing in fragments of music from Prokofievʼs Third Symphony, etc.
The conclusion about the invaluable role of the director, Peopleʼs Artist of the RSFSR
E.E. Pasynkov, conductors, Honored Art Workers of the Russian Federation A.M. Anisimov and V.I. Platonov, who presented S.S. Prokofiev’s opera masterpiece for the first time.
Keywords: Perm Opera House, director E.E. Pasynkov, conductors A.M. Anisimov, V.I. Platonov, rethinking the libretto, idealization of the image of Renata, glorification of the image of Ruprecht, the rearrangement of scenes, re-textualization.
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