With "Гюыѕ°ъющ" one of the most poetical performances about a sad life of the stepdaughter humiliated, the mocked malicious stepmother and its daughters the Ill-natured person and the Poseur was born. Those far years when romances of a pas verses of Balmonga, Apuhtin and Ahmatovoj, full of charm "Рърчъш old срсѕ°ъш" were written; posejany there were the grains which have ascended in the score "Гюыѕ°ъш" the music radiating waves of humanity and cheerfulness. In each episode where there is a Cinderella or where about it only "ѕяюьшэрх=ё " music is filled with fragrant heat and caress. From everything written by Prokofiev, "Гюыѕ°ър" most close to Tchaikovsky too not once thinking of ballet on this plot ballet dramatic art...
Prokofiev's Last ballet - "Рърч about stone чтх=ъх". "¦рыр§ш=ютр °ър=ѕыър" Bazhov it was filled with the wonderful Russian music generated in the fantastic and real images age-old skazov of the Ural stone-cutters and brightest of them in the image of Copper mountain of the mistress, beautiful woman, the spiteful malachite lizard storing secret of a stone flower.
Near to ballets the important place in Prokofiev's creative biography is occupied with its operas. In this genre the composer went a difficult way. Having begun with one-act "¦рффрыхэ№" krovavavoj a drama played against a magnificent life of Venice of XV century, he addresses to the following opera – to "ЂуЁюъѕ" Dostoevsky, from it to already mentioned fairy tale of Karlo Gotstsi "-¦сюті to three ряхыіёшэрь" the first opera which has won strong success. After ironical, easy and cheerful music "+яхыіёшэют" the composer plunges suddenly into Middle Ages gloom in an opera on a plot to lead V.Bryusov "+уэхээ№щ рэухы" where the sensuality, horrors of inquisition alternate with frenzied predictions and kabalistikoj. The music written under influence at all unusual Prokofiev ekspressionistskoj of an aesthetics, is used by it in the Third symphony later.
Many years Prokofiev did not address to an opera genre. And only in 1939 has taken a great interest in V.Kataeva's story "Ї - the son labour эрЁюфр". On its basis he has written an opera "Рхьхэ -ю=ъю". Absolutely a modern language Prokofiev in many episodes of this opera has started talking, having restored, obviously, in memory children's impressions about Ukraine, about the songs ringing in Sontsovke, about the atmosphere sated with fertile Ukrainian heat. Whether from here there were lyrical intonations in Simeon Kotko's dialogues-duets and its loved Sofia Tkachenko, or characteristics of Frosi pleasing with the touching naivety and Mikolki? At the integral advantages "Рхьхэр -ю=ъю" Prokofiev's predilection to prozaizmam, to a colloquial manner of intonations, have first prevented Prokofiev's first opera on modern plot to take a place in repertoire of our theatres. This manner will affect in even bolshej degrees in last opera "¤ютхё=і about the present ёхыютхъх" (1948) under B.Polevogo's book.
Absolutely there was differently a destiny of two polarly various operas: a lyrical comedy "+сЁѕёхэшх in ьюэрё=№Ёх" (1940) and a monumental epopee "-ющэр and ьшЁ" (1941-1952), the First of them - lacy stylisation of a comic opera XV ІІ I centuries, with typical characters of the Italian comedy theatre: the grumbling father of the very young beauty who have been married off to the rich dealer, but loving the beautiful poor young man; with ugly, crafty duenej, the set as purpose to marry to itself of the dealer rejected by the beauty; with in parallel developing intrigue of the second pair enamoured and with the ending in which all three steams exceedingly successfully go under a wreath. Speaking about stylisation, we did not mean "яюфЁрцрэшх" but only trend, a touch of genre features of opera music of Mozart, Rossini, giving prokofevskoj to music new charm.
Whether It is necessary to prove, how the creative feat of creation of an opera on a novel-epopee plot "-ющэр and ьшЁ" is unusual and improbably difficult;. The first difficulty - a parity of scales of the literary original and a possible maximum in an opera of scenic time. Even the first edition created by Prokofiev, lasting two evenings, could not capture an epopee of Tolstoi in all details though 73 characters (!) participate in an opera, not including visitors on ball, the soldier, peasants, the guerrilla.
In "-ющэх and ьшЁх" Prokofiev there are the scenes leaving impression, really the unforgettable: Natasha's first ball; a scene in Pleasant: Natasha's conversation and Sleepyheads at a window and reflexion of prince Andrey about spring; Natasha's unfortunate flight from the house Ahrosimovoj; visit of Rostovyh to the old man Bolkonsky. One of the most tremendous episodes of an opera - a scene of delirium and Andrey Bolkonskogo's death. And, though in an opera many excellent episodes in III certificate: before the Borodino battle, the Shevardinsky redoubt, and a final, very impressing scene - Smolensk road and a celebration of the Russian weapon, - the greatest impression is left by the music telling about the sincere world of heroes of personal tragedy: Natashas, Andrey, Pierre Bezuhova, Anatole etc.
Prokofiev some times came back to "-ющэх and ьшЁѕ" introduced corrective amendments in dramatic art, finishing one, changing or even withdrawing other episodes, probably, without being satisfied with the reached. An opera "-ющэр and ьшЁ" it has brought in history of Russian classical opera product grandiose, sated with patriotic idea.
"-ющэѕ and ьшЁ" Prokofiev wrote to a hard time, being in evacuation on caucasus: in Nalchik and Tbilisi. Conceived even before war, an opera "т№ышырёі" a uniform stream, undoubtedly, as the response of the composer-patriot to terrible events of military years.
In the same years there was a three-private symphonic suite "1941 уюф" ("- to fight, "-юёі¦" and "Гр a brotherhood эрЁюфют") and a cantata for soloists, chorus and an orchestra "…рыырфр about the boy who has remained эхшчтхё=э№ь" on Pavel Antokolskogo's verses. In these products, equally, as well as in songs "-ы =тр =рэъшё=р" "-¦сюті тюшэр" "Р№э -рсрЁф№" the composer aspires to a wide range of genres in which can be expressed exciting it, as well as each Soviet person, a theme. If in these products the war theme is given directly, in "ЁрёъЁ№=юь тшфх" in others - it is concluded in the heart of a plan and perceived through a prism of difficult associations.
Such is its Seventh sonata for a piano, grasping power of a figurative system, in which basis collision and furious struggle of two hostile elements. It was created during the most intense time of war when the destiny of the country when so a way of life and death was tragically weaved dared. That light world, in a name and for which rescue there is a fight, reveals in amazingly melodic music of II part. This music of deep nobleness, geniality and cleanliness. The ending is prompt and naporist. Ustremlenno, leaning against steel elasticity of a rhythm, the avalanche of sounds storming, uncontrollable, simultaneously severe and exulting is developed, rushes.
Any of nine piano sonatas has no literary program. And nevertheless the figurative system of everyone is clear enough. In the Sixth sonata (1940) the will and clearness, and nearby - humour and lyrics triumph, in the ending they are resisted by a severe and angry theme; in the Eighth (1944) the lyrics only underlined by themes contrasting with it dominates; in last, Ninth sonata (1947) all are light, transparent, podernuto dymkoj whether pensiveness, whether grief, as in serene autumn day.
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