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Valery.Gergiev.&.London.Symphony.Orchestra.-.[PROKOFIEV.Romeo.and.Juliet].专辑.(BK)

'Valery.Gergiev.&.London.Symphony.Orchestra.-.[PROKOFIEV.Romeo.and.Juliet].专辑.(BK)'
LSO Live Prokofiev Romeo On the Dnieper, a music-first, plot-afterwards concoction for the company of a Diaghilev protégé, Serge Lifar, fell flat three years later. The homeland which Prokofiev had left behind for the West in 1918, and with which he had begun to make a chequered rapprochement since 1927, began to look more promising. His first Soviet projects in the early 1930s were with a freewheeling film-maker, Alexander Feinzimmer, on the satire Lieutenant Kijé, and, with a distinctly unorthodox theatre director, Alexander Tairov, On Egyptian Nights, a Cleopatra fantasy drawn from Shaw, Shakespeare and Pushkin. Ballet was bound to require a more traditional approach, but that did not necessarily exclude high artistic aims. By 1934, the drive towards reinstating western as well as Russian classics was in full swing, and one of its strongest advocates was Sergey Radlov. The Leningrad director had excellent Shakespearean credentials, including a rather outlandish Othello as well as his Studio Theatre production of Romeo and Juliet. It was a literary friend who brought Radlov together with Prokofiev, his old chess opponent, to work on a ballet version of the star-crossed lovers’ tragic tale, scheduled for Leningrad’s flagship State Academic Theatre (Prokofiev still insisted on calling it by the imperial name of Mariinsky, by which it is now known once again). Radlov wanted at first to keep too much Shakespeare; an early scenario called for 24 scene-changes. While the literary Prokofiev took his time steering his collaborator towards a workable framework, political events overtook the partnership. On 1 December 1934 the party secretary for Leningrad, Sergey Kirov, was assassinated, the pretext for a ‘crackdown on terrorism’ leading to Stalin’s wholesale purges of the entire Soviet administration later in the 1930s. Artistic enterprises in Leningrad shrivelled, the State Academic Theatre took the name of Kirov, and the project passed into the hands of Moscow’s Bolshoi Theatre. During the summer of 1935, Prokofiev worked with astonishing speed on Romeo and Juliet in the peaceful surroundings of the Bolshoi’s country retreat at Polenovo. His clockwork precision was not to be rewarded so quickly. When he played through the completed score that October, opinions were divided, and the conservatives doubted whether the score was innately danceable. Another, more curious sticking-point at further auditions in early 1936 was the proposed happy ending to the Prokofiev-Radlov scenario – Juliet stirs in the nick of time so that the dancers might have a movement-filled few minutes together – which, of course, had to be changed; but there were other reasons behind the veto, not least Stalin’s increased control over artistic matters and the rapid gear-shift to a socialist- realist cult of personality. In November 2008, Prokofiev’s score was performed at the Barbican Theatre (London) as it was originally conceived, alongside Mark Morris’s new choreography, made
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Valery.Gergiev.&amp .London.Symphony.Orchestra.-.[PROKOFIEV.Romeo.and.Juliet].专辑.(BK)
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