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Topic: The Gambler (Prokofiev)

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	The Gambler (novel) - Wikipedia, the free encyclopedia
		The Gambler is a novel by Fyodor Dostoyevsky about a youngish tutor in the employment of a formerly wealthy Russian civil servant.
		The story is written in first person, as are many of Dostoevsky's works, and chronicles a period of time spent in a spa town in Germany in the mid-19th century.
		The other main plot point is that of the narrator's desire for the General's stepdaughter, as well as the narrator's eventual slide into destitution and addiction to roulette.
	en.wikipedia.org /wiki/The_Gambler_(novella) (223 words)

	Sergei_Prokofiev
		Prokofiev was born in Sontsovka, Russian Empire (now the village of Krasnoe in Donets'ka oblast', Ukraine).
		Prokofiev displayed unusual musical abilities by the age of five, and by the age of seven had also learned to play chess.
		Prokofiev's music was now suddenly seen as a grave example of formalism, and generally dangerous to the Soviet people.
	www.brainyencyclopedia.com /encyclopedia/s/se/sergei_prokofiev.html (2278 words)

	Sergei Prokofiev - Wikipedia, the free encyclopedia
		Prokofiev was born in Sontsovka, Russian Empire (now the village of Krasnoe, Krasnoarmiysky Raion, in Donetsk Oblast, Ukraine).
		Prokofiev then moved with his mother to the Bavarian Alps for over a year, so as to concentrate fully on his composing.
		His last performance was the premiere of the Seventh Symphony in 1952, a piece of a somewhat bittersweet character, for which Prokofiev was asked to substitute a cheerful ending.
	en.wikipedia.org /wiki/Prokofiev (2615 words)

	MHSchool: McGraw-Hill Music 2005 (Site not responding. Last check: 2007-10-12)
		Sergey Sergeyevich Prokofiev was born in the village of Sontsovka, Ukraine, in 1891.
		Prokofiev followed this with the premiere of his colorful and bombastic Piano Concerto no. 3 (1917—1921), the most popular of his piano concertos.
		Dmitri Shostakovich (1906—1975) called Prokofiev “a composer of genius (who) has made an immense, priceless contribution to the musical culture of Russia.” The Russian pianist Sviatoslav Richter (1915—1997) characterized Prokofiev as “someone with no principles, who wrote on commission.” With Prokofiev, the two judgments are not necessarily contradictory.
	www.mhschool.com /music/2005/teacher/teachingideas/composers/prokofiev (648 words)

	Prokofiev, Prisoner of the State--by Ian MacDonald
		For instance, Prokofiev's fellow émigré Nikolai Nabokov recalls him in Paris "continuously repeating that the Revolution for him was an inescapable, positive event of Russia's national history, and that he did not see in it, as so many of his compatriots did at the time, a desperate and fatal calamity".
		Prokofiev was not alone in being deceived by the 1932 decree; even Shostakovich, whose experience of political arm twisting was already extensive, welcomed it (or let himself be officially presented as so doing).
		Like Prokofiev, Eisenstein had returned to the USSR in 1932, though he had thereupon vanished from view so completely that for years it was thought that he had been liquidated as a "renegade".
	www.fortunecity.com /victorian/brambles/48/prodoc5.html (7349 words)

	One premiere, two events. The Gambler v.1 at Bolshoi.
		As a matter of fact, Prokofiev never heard in his own lifetime a performance of his first version of "The Gambler".
		The opera's nervous unbalance and concentrated expression are heard in an entirely new way within the old walls of the Bolshoi (The second version of "The Gambler" having been heard previously on this stage in 1974 and 1981).
		She sang two Polinas in the second version of "The Gambler" (at the Metropolitan Opera), as well as the long and passionate love duet between Alexei and Polina in this first version.
	www.sprkfv.net /old/2001/urpok.html (462 words)

	Metropolitan Opera International Radio Broadcast Information Center - Opera Archive (Site not responding. Last check: 2007-10-12)
		The standard Soviet work on Prokofiev -- Israel Nesteyev's, of 1957 -- disapproves of the opera: "Despite its satirical note, the libretto of The Gambler is on the whole very pessimistic, and lacking in morality and faith in man..." [Bolshoi Opera Director] Boris Pokrovsky...
		Prokofiev discerned in it, I believe, no more than some dramatic confrontations lending themselves to music of high emotional tension, a well-varied supporting cast who, with touches of caricature, could be made vivid, and the chance for a virtuoso divertissement round the roulette tables...
		Prokofiev solves the second problem by writing, so to speak, eloquently unspecific love music that can prompt a listener to feel intensely with Polina and Alexei without quite understanding--any more than they do -- just what is being felt, or why.
	archive.operainfo.org /broadcast/operaTeaching.cgi?id=&language=1&material_id=321 (1409 words)

	Essentials of Music - Composers
		Prokofiev showed his talent, especially for composition, at an early age.
		Prokofiev maintained a generally stable, if tenuous relationship with the Soviet government, especially in the years of World War II, when his works answered the call for patriotic, optimistic music.
		Prokofiev was a composer of great stylistic breadth who always demanded originality of himself.
	www.essentialsofmusic.com /composer/prokofiev.html (668 words)

	Letter from Natalia Savkina
		Prokofiev, who always preferred to be the master of his destiny, succeeded in directing even his posthumous destiny.
		Or: the noble fashion in which Prokofiev, in summer of 1926, on a dacha in Samoreau, was striving to defend a nest full of nestlings against a jumpy cat!
		Prokofiev is not at all interested by the "significance" of a person that is so important to the General in "The Gambler".
	www.sprkfv.net /letters/ltrsavkina.html (1301 words)

	classical music - andante - the met plays a winning hand
		This adaptation of a Dostoyevsky novella by the 26-year-old Prokofiev is one of the most thrilling, colorful and rousing operas of the early 20th century.
		The Gambler is a non-stop scherzo and the Met Orchestra maintained energy throughout; when Prokofiev does offer a moment of repose, the orchestra breathes with him, all thanks to Gergiev.
		As Alexei, Vladimir Galouzine was fearless, assaying the long, loud and high role with all the neurosis and poise required; Olga Guryakova was appropriately desperate and sexy in the role of Alexei's adored Polina.
	www.andante.com /article/article.cfm?id=10514 (350 words)

	Metropolitan Opera International Radio Broadcast Information Center - Opera Archive (Site not responding. Last check: 2007-10-12)
		Prokofiev attempted to reflect the course of his dialogue through his music reproducing the flow of the spoken language in musical sounds.
		Prokofiev wrote over 20 individualized bit parts, from two croupiers to characters as diverse as "Fat Englishman," "Doubtful Old Lady," "Hump-backed Player" and many others.
		Amidst the lively din of the gamblers, Aleksei's voice emerges declaring, "I know that chance would be on my side from now on." Note the constantly changing meter every measure from quadruple to duple to triple, etc.(Ex.
	archive.operainfo.org /broadcast/operaTeaching.cgi?id=&language=1&material_id=320 (1171 words)

	PROKOFIEV ~ NOTES Page ~ aMUSIClassical Directory
		One such ongoing evaluation revolves around the work of Sergei Prokofiev (1891-1953), who hardly seems to fit the profile of a neglected composer. His music, after all, continues to be regularly encountered in live performances and is richly represented on disc.
		Just as it had been within the Soviet Union, Prokofiev's reputation suffered a number of distortions in the West as a result of cold war politics--though, curiously, the accusations hurled by both sides were actually polar opposites (Prokofiev was denounced as a decadent formalist by the one and as a submissive reactionary by the other).
		Prokofiev made opera a paramount ambition throughout his career, even though an unrelenting series of crushing disappointments and botched productions resulted in some of his unluckiest episodes.
	www.angelfire.com /biz/musiclassical/prokofiev.html (1835 words)

	The Gambler - QuickSeek Encyclopedia (Site not responding. Last check: 2007-10-12)
		The Gambler, a 1917 opera by Sergei Prokofiev based on the novella.
		The Gambler, created in 1944, a supervillain in the DC Universe who was an enemy of the Green Lantern.
		The Gambler, a 1997 movie about the writing of Dostoyevsky's novella directed by Károly Makk and starring Michael Gambon as Dostoyevsky.
	thegambler.quickseek.com (117 words)

	The chess games of Sergei Prokofiev
		If you enjoy his pieces, that is good for you; for whatever reasons, Prokofiev's music stinks to my ear (to a lesser extent than Stravinsky and other modernists, albeit).
		Prokofiev, like Stravinsky, had phases and particular works that are much more "modernist" and more difficult to listen to, and others that are more conventional.
		Prokofiev did go abroad and made different productions but he was lured back to Russia by Stalin who wanted him as a symbol of the thriving Soviet culture.
	www.chessgames.com /perl/chessplayer?pid=61923 (1922 words)

	Prokofiev Message Board - The Gambler (Original version) -on CD (Site not responding. Last check: 2007-10-12)
		Besides the Gambler, their CD with Prokofiev's piano sonatas by P. Jablonski would be worth hearing too.
		I'd like you all, Prokofiev fans, to be aware that most of the important Prokofiev initiatives over the past seven years have been initiated and/or supported by the Serge Prokofiev Archive.
		Well, I've finally gotten a copy of the original Gambler, and it's quite fascinating stuff--the entr'actes in the original version have an angst-ridden, almost "Germanic" expressionism that SP was never really to engage again.
	www.prokofiev.org /forum/viewmessages.cfm?Forum=7&Topic=557 (1482 words)

	NPR's At the Opera
		There's The Queen of Spades by Tchaikovsky, in which the hero is destroyed by gambling; there are Massenet's Manon and Verdi's La Traviata, both with key scenes in which a man foes to the the tables out of love for a woman and encounters disastrous results.
		In fact, Prokofiev's drama could well serve as a stern warning -- a sort of operatic public service announcement -- but it's also much more than that.
		The Gambler is a fascinating and innovative opera by one of the 20th century's most popular composers.
	www.npr.org /programs/attheopera/archives/010331.ato.html (808 words)

	Musical Pointers
		Prokofiev admitted to having chosen the most radical musical language possible and he later tempered it in his 1928 revision, having decided that "a great deal of modernistic padding - - only complicated the vocal line".
		Prokofiev's method was so original that one writer dubbed it as devoid of melody.
		Prokofiev builds to a stunning last act in which his anti-hero gambles and breaks the bank.
	www.musicalpointers.co.uk /reviews/cddvd/russiangambling.html (923 words)

	Spiritism OnLine .Net - eStore - Prokofiev - The Gambler / Galusin, Kazarnovskaya, Aleksashkin, Obraztsova, Gergiev (Site not responding. Last check: 2007-10-12)
		The Gambler was Prokofiev's second opera but his first large scale drama.
		Later, Prokofiev was to create his orchestra suite Four Portraits from the Gambler from the music of the opera.
		Valery Gergiev and the Kirov Orchestra are wonderful in bringing Prokofiev's score to life, particularly in the impending doom of the Fourth Act.
	www.spiritismonline.net /modules.php?name=Amazon&asin=B00000JSAG (643 words)

	Prokofiev
		He began studying the piano with his mother when he was only four years old, and already at the age of five he composed his first piano work.
		His last years were shadowed by illness and frustration, the latter from Stalinist bureaucrats appointed to verify the ideological soundness of his music.
		To me, Prokofiev is the most prolific composer in the 20th-century, a man who really was able to combined both lyrical beauty with dramatic dissonance; often including irony – and even (a somewhat grotesque kind of) humour – in the music.
	folk.uio.no /otton/PRKF1.htm (513 words)

	BBC - Music / Profiles - Sergei Prokofiev
		He was a gifted melodist with a unique musical voice, who wrote in a wide range of genres including operas, ballets, film scores, cantatas, and orchestral, chamber and instrumental works.
		Prokofiev studied with Rimsky-Korsakov at the St Petersburg Conservatory
		Prokofiev wrote eight film scores and during his final American visit in 1938 studied film techniques in Hollywood - his most significant score was for Eisenstein's Alexander Nevsky
	www.bbc.co.uk /music/profiles/prokofiev.shtml (461 words)

	Gambler the nun and the radio (Site not responding. Last check: 2007-10-12)
		The Gambler, the Nun, and the Radio Father and Sons One Trip Across The Tradesman's Return The Denunciation The Butterfly and the Tank Night Before Battle...
		"The Gambler, the Nun, and the Radio" is laid in the accident ward of a hospital in Western United States, and so on.
		My father was a gambler who wore tailor-made silk suits and Italian shoes and had his...
	3214.6d4ans.info (1100 words)

	Prokofiev, Sergei
		The premieres of two of his most successful works were held in Chicago in 1921--the Third Piano Concerto and the opera Love for Three Oranges, which was commissioned by the Chicago Opera.
		In 1932, Prokofiev reached an understanding with Soviet authorities, and in 1936 he left Paris and settled permanently in the USSR.
		In 1948, Prokofiev and other leading Soviet composers were severely criticized by Communist party spokesmen for "ideological laxity." His last years were shadowed by illness and frustration, the latter from petty bureaucrats appointed to verify the ideological soundness of Soviet music.
	www.indiamusicinfo.com /new/composers/prokofiev.html (405 words)

	The Music of Sergei Prokofiev
		Minturn finds a central theme of Prokofiev's oeuvre to be the interplay between tradition and innovation.
		Minturn shows how the content and structure of individual pieces and movements took shape, how Prokofiev developed the notion of five musical lines, and how the idea of the "wrong note" in his music plays out.
		A surprisingly constant harmonic and rhythmic sense permeates Prokofiev's evolving style, as measured by relatively "harmonic" or "contrapuntal" emphasis.
	yalepress.yale.edu /yupbooks/book.asp?isbn=0300063660 (202 words)

	Great Performances . Educational Resources . Composer Biographies . Sergei Prokofiev \| PBS
		In 1917 he finished an opera on Dostoyevsky's "Gambler," a violently involved study of obsession far removed from the fantasy of his nearly contemporary Chicago opera "The Love for Three Oranges," written in 1919 and performed in 1921.
		Nor does either of these scores have much to do with his "Classical" Symphony, selfconsciously 18th-century in manner, and again quite distinct from his lyrical Violin Concerto no.1, written at the same period and in the same key.
		Meanwhile his own impulse to remain a Westerner was gradually eroded and in 1936 he settled in Moscow, where initially his concern was with the relatively modest genres of song, incidental music, patriotic cantata and children's entertainment ("Peter and the Wolf," 1936).
	www.pbs.org /wnet/gperf/education/prokofiev.html (599 words)

	Amazon Shop - Prokofiev: The Gambler - Music (Site not responding. Last check: 2007-10-12)
		Prokofievs first mature opera is only availble in this recording.
		I would not recomend this to anybody who has not heard all of his other operas because it is very heavy going, there is not a single reconisable tune, wheras in all his other operas there is. However, Valery Gergiev gives another astounding performance, and Vladimir Galuzin takes a strong lead.
		The sound quality is superb and I doubt this is a live recording as there is not a single disturbance from the audience.
	www.uksprite.com /store/info-B00000JSAG.html (319 words)

	The Metropolitan Opera
		In the gambling hall, Alexei joins a group of seasoned gamblers who discuss his every play as he wins repeatedly, finally quitting at 200,000.
		Gathering his winnings, Alexei returns to his room, where in a daze he imagines the voices of the croupiers and the comments of his fellow gamblers.
		In due time he realizes Pauline is there, waiting for him, and he offers her the 50,000 she needs to repay the Marquis.
	www.metoperafamily.org /metopera/discover/stories/synopsis.aspx?id=44 (1171 words)

	Amazon.com : An Overview of Russian Opera (Site not responding. Last check: 2007-10-12)
		When the Bolshoi Opera staged Sergei Prokofiev's The Gambler at the Metropolitan Opera House in 1975, ticket sales for the American premiere of Prokofiev's youthful 1916 opera were so abysmal that the production was canceled before the end of its run.
		The new box office appeal of The Gambler, a setting of Dostoyevsky's tale about compulsive gambling and obsessive love, is a symptom of America's excited, if belated, discovery of Russian opera.
		And because Russian opera companies now regularly tour the United States, American audiences are learning that Prokofiev's Betrothal in a Monastery is a comic masterpiece of Mozartean dimensions and that Tchaikovsky's Mazeppa descends more deeply into the darkness of the human psyche than that composer's reputation would suggest.
	www.amazon.com /exec/obidos/tg/feature/-/153980/ncdn (1415 words)

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