114:(1959) Lifar describes how their personal situation came to a head during rehearsals. "The two heroines of this ballet were named Natasha and Olga. I have already mentioned the friendship which had sprung up at this time between Natasha P... and myself. It was, therefore, perhaps a little cruel to give these two names, Natasha and Olga, to the heroines. Be that as it may, the role of Olga was allotted to Spessivtseva, while the male part, Serge, was to be interpreted by me. The crisis came when, at one of the rehearsals, Spessivtseva suddenly realized that it was with Natasha ... that in pursuance of the plot, I was to find happiness, whereas the leading, and, from the choreographic point of view, the most important role had been allotted to her, Olga! This crisis, as always with her, developed with the speed of lightning. Just as I had announced at rehearsal, that this was where my pas de deux tendre with Natasha would begin, Spessivtseva all of a sudden made a dash for the window. In one bound I reached her, but, by that time she was already through it. I just managed to clutch her arm. My pianist, Leonide Gontcharov, who was hard on my heels, sprang to my assistance. Olga hung there, suspended from our arms, thirty feet above the Place Charles-Garnier. With great difficulty we managed to drag her back. She fought, bit and scratched in an effort to break free ... Next day she did not turn up at rehearsal, but sent word to me that she had left the Opera forever."
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returns to his village on the
Dnieper and finds he is no-longer in love with Natasha his betrothed. Instead, he falls in love with Olga. Olga's parents intend for her to marry another man whom she does not love. Sergei and Olga's friends fight. Sergei falls, but the lovers are saved by the
78:, formerly a close associate with Diaghilev, was responsible for creating the setting and choreography. However, he did not place any significance to the scenario. Rather, the ballet was created as a sequence of dances.
89:, said that he was disappointed with Prokofiev's score. Lifar claimed to have been inspired by Russian folkdance, but acknowledges that critics found his own choreography insufficiently Russian.
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warmly praised the music after the premiere. Afterwards, Prokofiev extracted an orchestral suite from the ballet (as he did to his other stage works) as Op. 51a.
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The Three Graces: Anna
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compassionate
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Prokofiev continued to develop his lyrical line of composition in
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The ballet contains 12 numbers, lasting around 40 minutes:
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Cantata for the 20th
Anniversary of the October Revolution
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Three Pieces & Six Pieces & Ten Pieces from
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Lina and Serge: The Love and Wars of Lina
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552:List of compositions
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128:The Prodigal Son
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58:Sergei Diaghilev
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1123:Piano music
986:Vocal music
937:Waltz Suite
818:(left-hand)
716:"Classical"
641:Ala i Lolli
581:The Gambler
378:The Quarrel
360:Suite from
352:Suite from
171:Pas de deux
76:Serge Lifar
72:Paris Opéra
25:(На Днепре)
1400:Categories
1265:Cinderella
1178:No. 8 in B
1167:No. 7 in B
947:Film music
810:No. 4 in B
789:No. 1 in D
760:No. 7 in C
749:No. 6 in E
738:No. 5 in B
707:Symphonies
690:Cinderella
461:References
399:Conductor
396:Orchestra
389:Recordings
267:Conductor
264:Orchestra
257:Recordings
215:Stravinsky
144:Sergei, a
53:Background
1036:Zdravitsa
775:Concertos
574:Maddalena
567:The Giant
169:Scene 1:
102:Promethee
1372:Category
1219:Sarcasms
1181:♭
1170:♭
1111:♯
813:♭
792:♭
763:♯
752:♭
741:♭
384:Epilogue
338:Melodiya
229:In 2009
201:Premiere
196:Epilogue
146:Red Army
118:Analysis
87:La danse
39:founder
1194:No. 10
1130:Sonatas
655:Trapèze
633:Ballets
485:23 July
408:Format
369:Prelude
276:Format
225:Revival
219:Milhaud
160:Prelude
107:Giselle
1275:(1926)
827:No. 6
559:Operas
345:CD/LP
1384:Audio
1206:Other
1184:major
1173:major
1114:minor
839:Other
816:major
795:major
782:Piano
766:minor
755:minor
744:major
648:Chout
451:2001
428:1994
381:Scene
342:1982
319:1998
296:2003
487:2019
447:Koch
217:and
207:1932
140:Plot
454:CD
431:CD
322:CD
315:CPO
299:CD
1402::
478:.
136:.
104:,
718:)
535:e
528:t
521:v
489:.
100:(
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