Prokofiev, Sergei

Preface

Sergei Prokofiev – Romeo and Juliet Op.64 (compl. ballet in 4 acts, 1-52 sc.)

(b. Sontsivka, Ukraine 23 April 1891 – d. Moscow, Russia 5 March 1953)

Ballet

Preface
Romeo and Juliet (Russian: Ромео и Джульетта), Op. 64, is a ballet by Sergei Prokofiev based on William Shakespeare’s play. It was composed in 1935 and revised for its Soviet premiere in 1940. Prokofiev also created three orchestral suites and a solo piano suite from the ballet.

Prokofiev began working on Romeo and Juliet during a politically tense period in the Soviet Union. Despite facing censorship and political challenges, he crafted an emotionally rich score inspired by Renaissance culture. The music blends lush harmonies with contrasting rhythms to capture emotions ranging from love to tragedy.

Following a synopsis by Adrian Piotrovsky and Sergey Radlov, the ballet was created in the “drambalet” style promoted at the Kirov Ballet. A new agreement with the Bolshoi Theatre kept Piotrovsky involved, but the original happy ending caused controversy among Soviet officials, delaying the premiere indefinitely.

Political issues, including Pravda’s denunciation of modernist artists, further delayed the ballet. Conductor Yuri Fayer eventually persuaded Prokofiev to revert to the traditional ending, leading to the first performance at the Bolshoi Theatre. The full ballet premiered in Brno, Czechoslovakia, on December 30, 1938. Initial reactions were mixed due to political scepticism and critiques of the choreography. However, as more people connected with its emotional depth, the ballet gained popularity. Performances in Moscow and abroad showcased its appeal, earning it a place in the dance canon.

Prokofiev initially discussed the project with the Kirov Theatre in December 1934 but signed a contract with the Bolshoi Theatre in 1935. Despite an unsuccessful audition, the ballet was staged at the Kirov Theatre in 1940, with significant contributions from Leonid Lavrovsky. Over time, Romeo and Juliet became a symbol of artistic resilience against political oppression. Celebrated adaptations by choreographers like Kenneth MacMillan and Leonid Jacobson helped cement its status as a classic, admired for both its musical and choreographic brilliance. …

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