Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev5b preface
Rev5c gier
Rev5d dohring
Rev5e sautter
Rev5a avantpropos
Rev5f klaper
Rev5g salvia
Rev5h salva
Rev5i schneider
Rev5j quetin
Rev5k degott
Rev5l moel
Rev5m overbeck
Rev5n cazaux
Rev5o zegowitz
Rev5p herz
Rev5q schindler
Rev5r muller
Rev5s braune
Rev5t banoun
Rev5v preuss
Rev5 livret
Rev5u moron

It took Prokofiev seven years to compose The Fiery Angel, an opera based on a novel by Brioussov. Between January 1920 and June 1927, the composer’s mind was completely focused on this new work. Despite many failed attempts, Prokofiev only heard extracts from the second act in a concert version given on 14 June 1928 (the opera was staged in Paris in November 1954, one year after Prokofiev’s death). As soon as April 1928, Prokofiev decided to draw a symphonic suite basically conceived as a paraphrase, but which quickly turned into a four-movement symphony; this is how the Third Symphony was born. Another project linked to The Fiery Angel failed. In 1923, without any prospect to stage the first version of the opera, Prokofiev decided to draw a vocal suite and thus to change the morphology of the opera in order to make it more appropriate for the concert. Absent from the official catalogue of the composer’s works, this unfinished suite has never been the subject of any research until now, and it is at best briefly mentioned in the musicological writings devoted to Prokofiev. Exiled in the United Sates, why did he show any interest in Brioussov’s novel? How did he conceive his suite? What cuts did he have to make in the libretto? What problems did he face? These questions deserve to be answered.

Le livret en question

N° 5 u

Nicolas Moron

Université de Tours

La Suite vocale d'après l'Ange de feu de Serge Prokofiev


Albert Gier
Albert Gier - Etudes récentes sur le livret

Sieghart Döhring
Sieghart Döhring - Ein Schlüsselbegriff der Librettoanalyse

Daniela Sautter
Daniela Sautter - Element einer pietà-Poetik


Michael Klaper
Michael Klaper - Der Beginn der Operngeschichte in Paris

Adrian La Salvia
Adrian La Salvia - Die erste Auffürung einer Tragédie en musique

Marco Rosa Salva
Marco Rosa Salva - Licinio imperatore

Herbert Schneider
Herbert Schneider - Voltaire als Librettist

Laurine Quetin
Laurine Quetin - Lucio Silla, Lucio Cornelio Silla Dittatore

Pierre Degott
Pierre Degott - "Procurerò di ritornar inglese"

Sylvie Le Moël
Sylvie Le Moël - L'Europe romanesque dans le livret d'opéra-comique et de Singspiel

Anja Overbeck
Anja Overbeck - Auf der Suche nach dem "Libretto-Idiom"

Chantal Cazaux
Chantal Cazaux - Alexandre Soumet, Felice Romani

Bernd Zegowitz
Bernd Zegowitz - Kein Librettist in eigener Sache

Joachim Herz
Joachim Herz - Operndramaturgie versus Schauspieldramaturgie

Andrea Schindler
Andrea Schindler - Wagners Erben

Anja Müller
Anja Müller - The Lords of the Rings

Isolde Braune
Isolde Braune - Zum Phänomen des Sprachversagens bei S Wagner

Bernard Banoun
Bernard Banoun - Livret et esthétique le l'opéra dans les années 1920

Thorsten Preuss
Thorsten Preuss - Die Erzählung als Libretto


Nicolas Moron
Nicolas Moron - La Suite vocale d'après L'Ange de feu