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Prokofiev’s first mature opera The Gambler was a radical work that was, in many ways, ahead of its time. This article reflects on some of the changes the composer made to the 1917 version of the opera when he came to revise it a decade later. In the process of discussing these revisions, the article will provide insights into the nature of Prokofiev’s theatrical instinct. The composer’s operatic ideal depended primarily on the crafting of a ‘theatrical rhythm’ that would shape the entire work. Characterization and declamation techniques also play a crucial role in controlling the work’s internal rhythm and in achieving a degree of dramatic realism.


  

Prokofiev et la littérature

N° 8 d

Christina K. Guillaumier

University of St. Andrews, Scotland

Prokofiev, opera and theatre : a case study of The Gambler

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Nicolas Moron
Nicolas Moron - Genèse et publications de Sept, ils sont sept

Christina K. Guillaumier
Christina K. Guillaumier - Prokofiev, opera and theatre

Carlo Bianchi
Carlo Bianchi - Sizing up Prokofiev's music

Préface

Laetitia Le Guay
Laetitia Le Guay Brancovan - Le journal 1907-1933 de Serge Prokofiev