Book contents
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Acknowledgements
- Note on transliteration, abbreviations and sources
- Introduction: Prokofiev and Opera
- 1 Early Operatic Experiments and Maddalena
- 2 Between Opera and Theatre: Radicalisation of Style in The Gambler
- 3 A Successful Enterprise: Love for Three Oranges
- 4 The Devil Within: Theatre and Spectacle in The Fiery Angel
- 5 Towards a Soviet Operatic Style: Semyon Kotko
- 6 Betrothal in a Monastery and the Retreat from Ideology
- 7 War and Peace: The Prokofievan Operatic Ideal?
- 8 Dramaturgical Re-evaluation in The Story of a Real Man
- Epilogue
- Synopses
- Bibliography
- Index
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Acknowledgements
- Note on transliteration, abbreviations and sources
- Introduction: Prokofiev and Opera
- 1 Early Operatic Experiments and Maddalena
- 2 Between Opera and Theatre: Radicalisation of Style in The Gambler
- 3 A Successful Enterprise: Love for Three Oranges
- 4 The Devil Within: Theatre and Spectacle in The Fiery Angel
- 5 Towards a Soviet Operatic Style: Semyon Kotko
- 6 Betrothal in a Monastery and the Retreat from Ideology
- 7 War and Peace: The Prokofievan Operatic Ideal?
- 8 Dramaturgical Re-evaluation in The Story of a Real Man
- Epilogue
- Synopses
- Bibliography
- Index
Summary
Maddalena
The plot is set in fifteenth-century Venice and focuses on a love triangle between a femme fatale-type figure, Maddalena, her husband Gennaro, and his friend, the alchemist Stenio. Unbeknown to both male characters, Stenio is also Maddalena's lover; in every encounter Maddalena has insisted on keeping her identity a secret. Stenio visits Gennaro in his home and describes his love for a mysterious woman. In a highly melodramatic moment, Maddalena is revealed to be the woman both men love. When her identity is revealed, the manipulative Maddalena incites them to a duel. Both are killed and the opera finishes with Maddalena running to the window and shouting out for help.
The Gambler
Act I
We are introduced to the main characters in the garden of a casino hotel. Alexei, tutor to the General's household, must tell Paulina that he has lost all the money she gave him to play roulette on her behalf. The General in the meantime has just received a telegram from his grandmother, Babulenka. He finds out that her condition has worsened, which brings him satisfaction as he is eager to inherit her vast fortune. Among the hangers-on who surround the General are the Marquis (who lends him money to be paid back with interest against his expectations) and Blanche, the woman with whom he is in love and who in turn is in love with his fortune. They are surprised that Alexei could afford to lose so much of his own money, and they question him as to its provenance. When Alexei is left alone with Paulina, he wants to know why she needed the money so badly. He declares himself ready to commit suicide for her. She tests his loyalty to her by asking him to insult the Baroness Wurmerhelm, which, after some discussion, Alexei does.
Act II
Alexei's conduct has upset the General, who tells the Marquis he fears that the tutor will cause the family further embarrassment. The General informs Alexei that he cannot retain him in his employ. Mr Astley joins Alexei and they discuss the General's relation ship with Mlle Blanche. The Marquis shows Alexei a letter in Paulina's handwriting in which she demands that Alexei give up his plan to play roulette again in order to win back her money.
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- Information
- The Operas of Sergei Prokofiev , pp. 249 - 264Publisher: Boydell & BrewerPrint publication year: 2020