Prokofiev Romeo & Juliet
‘A ballet for the Bolshoi has to be done “resplendently”, with velvet costumes’, declared Sergey Prokofiev in early 1934 to a colleague who had proposed a bold scenario on a Soviet contemporary theme, ‘otherwise the public won’t come’. Prokofiev’s characteristically clear-sighted assessment of the situation in the more conservative of Russia’s two leading theatres heralded a new turn in his own work for the Soviet stage. The glory days of his experimental one-act ballets for Diaghilev’s Ballets Russes in Paris had come to an end with the death of the impresario in 1929; On the Dnieper, a music-first, plot-afterwards concoction for the company of a Diaghilev protégé, Serge Lifar, fell flat three years later.
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