The Fiery Angel

Sergei Prokofiev

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Opera in five acts (seven scenes)
Libretto: the composer after Valery Bryusov
World premiere: 25 November 1954, Paris
Co-produced with: Festival d’Aix-en-Provence
In the original Russian

An Angel reveals himself to a girl, the girl loves him platonically. The girl grows up, the Angel becomes the object of her desire. The desire of young Renata angers the Angel. For Renata, in turn, her love becomes the axis of the world: she tries to look for him in the men she meets. The image of the Angel she carries within her prevents her from forming a relationship with Ruprecht, who would do anything for her, including signing a pact with Mephistopheles. Religious visions, the desire for purity, guilt, the need to be punished, sadomasochism – all those feature prominently in this story. Who is Renata – a miss nobody, or an exalted manipulator? ‘Working on this role, I observe the behaviour of children, the behaviour of animals – they are impulsive, just as Renata. Her impulsiveness is striking, and reflected in the music,’ says Svetlana Sozdateleva, who has sung the role in several stagings of The Fiery Angel. The role is insanely psychologically and musically demanding, as is the case with the role of Ruprecht – one needs perfect pitch to sing this opera. The Fiery Angel, according to Vladimir Jurowski, is one of the most radical operas of the first half of the twentieth century. He finds in it musical references to Bluebeard’s Castle, Lulu, Wozzeck, as well as melodies and rhythms that did not find their way into music for another half a century, and only later resurfaced in 1960s and 70s rock music.

Cast

Credits

Chorus and Orchestra of the Teatr Wielki  Polish National Opera

Sponsors

  • Patron of Teatr Wielki - Polish National Opera

  • Partners of Teatr Wielki – Polish National Opera

  • Media patrons of Teatr Wielki – Polish National Opera

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