000			02306 a2200253 4500
001			1138253316
005			20250317100412.0
008			250312042016GB eng
020			_a9781138253315
037			_bTaylor & Francis _cGBP 56.99 _fBB
040			_a01
041			_aeng
072	7		_aAVLA _2thema
072	7		_a3MP _2bisac
072	7		_aAVGC6 _2bic
072	7		_aMUS000000 _2bisac
072	7		_a781.556092 _2bisac
100	1		_aStephen D. Press
245	1	0	_aProkofiev's Ballets for Diaghilev
250			_a1
260			_aOxford _bRoutledge _c20160826
300			_a328 p
520			_bBallet impresario Sergey Pavlovich Diaghilev and composer Sergey Sergeyevich Prokofiev are eminent figures in twentieth-century cultural history, yet this is the first detailed account of their fifteen-year collaboration. The beginning was not trouble-free, but despite two false starts (Ala i Lolli and the first version of its successor, Chout) Diaghilev maintained his confidence in the composer. With his guidance and encouragement Prokofiev established his mature balletic style. After some years of estrangement during which Prokofiev wrote for choreographer Boris Romanov and conductor/publisher Serge Koussevitsky, Diaghilev came to the composer's rescue at a low point in his Western career. The impresario encouraged Prokofiev's turn towards 'a new simplicity' and offered him a great opportunity for career renewal with a topical ballet on Soviet life (Le Pas d'acier). Even as late as 1928-29 Diaghilev compelled Prokofiev to achieve new heights of expressivity in his characterizations (L'Enfant prodigue). Although Western scholars have investigated Prokofiev's operas, piano works, and symphonies, little attention has been paid to his early ballets written for Diaghilev's Ballets Russes. Despite Prokofiev's devotion to opera, it was his ballets for Diaghilev as much as his concertos and solo piano works that earned his renown in Western Europe in the 1920s. Stephen D. Press discusses the genesis of each ballet, including the important contributions of the scenic designers (Mikhail Larionov, Georgy Yakulov and Georges Rouault) and the choreographer/dancers (Léonid Massine, Serge Lifar and George Balanchine), and the special relationship between the ballets' progenitors.
999			_c2448 _d2448