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| Disc: 1 | |||
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| 1. Opera In Five Acts And Seven Scenes, Op. 37: Act One: 'Zdes', gospodin rycar' (Ruprecht) | |||
| 2. Opera In Five Acts And Seven Scenes, Op. 37: Act One: 'Da, on rassejalsja' (Renata, Ruprecht) | |||
| 3. Opera In Five Acts And Seven Scenes, Op. 37: Act One: 'U vas vse vremja sum kakoj-to' (Renata, Ruprecht) | |||
| 4. Opera In Five Acts And Seven Scenes, Op. 37: Act One: 'Ne dovol'no l'' (Renata, Ruprecht) | |||
| 5. Opera In Five Acts And Seven Scenes, Op. 37: Act One: 'Sista... sista... sista...' (Renata, Ruprecht) | |||
| 6. Opera In Five Acts And Seven Scenes, Op. 37: Act Two: '...iz trech magiceskich krugov' (Renata) | |||
| 7. Opera In Five Acts And Seven Scenes, Op. 37: Act Two: 'A, Jakov Glok' (Renata, Ruprecht) | |||
| 8. Opera In Five Acts And Seven Scenes, Op. 37: Act Two: 'Slysis li ty stuk?' (Renata, Ruprecht) | |||
| 9. Opera In Five Acts And Seven Scenes, Op. 37: Act Two: 'Zaklinaju tebja' (Renata, Ruprecht) | |||
| 10. Opera In Five Acts And Seven Scenes, Op. 37: Act Two: 'Tam net nikogo' (Renata, Ruprecht) | |||
See all 12 tracks on this disc
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| Disc: 2 | |||
| 1. Opera In Five Acts And Seven Scenes, Op. 37: Act Three: 'Genrich, vernis', vernis', vernis'!' (Renata) | |||
| 2. Opera In Five Acts And Seven Scenes, Op. 37: Act Three: 'Ubej ego, Ruprecht!' (Ruprecht, Renata) | |||
| 3. Opera In Five Acts And Seven Scenes, Op. 37: Act Three: 'Renata, perestan' ze plakat'' (Ruprecht, Renata) | |||
| 4. Opera In Five Acts And Seven Scenes, Op. 37: Act Three: - Entr'acte - | |||
| 5. Opera In Five Acts And Seven Scenes, Op. 37: Act Three: 'Milostivaja dama, on opasno ranen' (Renata) | |||
| 6. Opera In Five Acts And Seven Scenes, Op. 37: Act Four: 'Renata, molju tebja...' (Ruprecht, Renata) | |||
| 7. Opera In Five Acts And Seven Scenes, Op. 37: Act Four: 'Baraniny! Vina i baraniny!' (Renata) | |||
| 8. Opera In Five Acts And Seven Scenes, Op. 37: Act Four: 'Ach, negodjaj!' (Ruprecht) | |||
| 9. Opera In Five Acts And Seven Scenes, Op. 37: Act Five: 'Sestra Renata' (Renata) | |||
| 10. Opera In Five Acts And Seven Scenes, Op. 37: Act Five: 'Vozljublennye brat'ja i sestry' | |||
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See all 13 tracks on this disc
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The story is one of occult interest with the heroine (or perhaps
anti-heroine) Renata being possessed by the angel Madiel and, in turn, attempts to posses the knight Ruprecht. While one is sympathetic toward Renata because of the constant visions that torture her we can sense her manipulative power as she provokes Ruprecht in an attempt to kill Count Heinrich, whom she suspects is Madiel returned to earth in a different form.
Prokofiev based The Fiery Angel on a novel by Valery Bryusov, published in 1907, that he discovered in America in 1919. He began the opera in 1920 but the work did not go smoothly and it was not completed until 1927, and revised it later in attempts to have it performed (it was not performed until 1955). Eventually, the music found its way into the Third Symphony
in 1928. The action of the opera is episodic than flowing. The scene with Faust and Mephistopheles is gratutitous and does not advance the story but does have occult interest. Also, in the last act of the opera, Ruprecht only observes as Renata is condemned to death, taking no part in defending the woman he loves. The opera has been described as being more a symphony in the guise of an opera. For me, despite the shortcomings of this opera, it is a remarkable work that has some powerful moments.
The occult subject matter and the difficulty of the role of Renata consigned the opera to oblivion until recently. This recording of The Fiery Angel is from a landmark production by the Mariinsky Theater in 1993 and won the Gramophone award for best opera. This is a live recording but the audience is quiet, and stage noise is minimal. Galina Gorchakova is perfect as Renata and conveys her vulnerability and torment. Sergei Leiferkus is excellent as Ruprecht, and the remaining cast members give wonderful performances with Vladimir Ognovenko being particularly sinister as the Inquisitor. Most of all, Valery Gergiev deserves praise for his peerless conducting of this opera and proving that The Fiery Angel is among Prokofiev's masterpieces.
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