Born in Sontsovka (today Krasnoye), department of Ekaterinoslav, Ukraine, April 27, 1891
Died in Moscow, March 5, 1953

When Prokofiev turned to Shakespeare’s play as the subject for a choreographic drama, he already had six ballets to his credit, but for his interpretation of Romeo and Juliet in music he created not only one of his very finest and most popular compositions, but what would quickly rise to become the most successful full-length, three-act ballet score of the twentieth century. The music contains a wealth of memorable themes, passionate lyricism, compelling rhythmic excitement and a generous measure of comic elements, a component not usually associated with the story. Yet, as Israel Nestyev points out in his biography of the composer, no one else has “caught and expressed so well the tragedy’s light and playful moments, the aspect that endows it with fresh contrasts and sharply defined chiaroscuro effects.”  

For all the fame and popularity Prokofiev’s Romeo and Juliet enjoys today, its early years were rocky and uncertain. Prokofiev wrote the music in 1934 and 1935 at the invitation of the Kirov Theater in Leningrad, which was eager to mount a new ballet by the country’s returning celebrity. (Prokofiev had just returned to his homeland after living and traveling abroad for nearly 16 years.) However, the theatre rejected the score, presumably because of the story line (“Living people can dance, the dying cannot,” Prokofiev later rationalized), though the composer may also have tripped in the political minefield of the Soviet theatre world. A contract was arranged with the Bolshoi in Moscow instead, but there the music was declared “undanceable.” One wag has suggested that at this point Prokofiev may well have invoked Mercutio’s line from the play, “A plague o’ both your houses!”

At least the score was played in concert form in the Beethoven Hall of the Moscow Bolshoi in October of 1935. Since no staged performance was in sight, Prokofiev expediently arranged two orchestral suites of seven numbers each (drawn from the total of 52), as well as a set of 10 numbers arranged for piano solo. (A third orchestral suite was compiled in 1946.) These suites enjoyed some currency before Romeo and Juliet was finally staged by the Kirov in 1940. But in the meantime, the honour of the premiere stage production went to Brno, Czechoslovakia (now in the Czech Republic), where it was given, without Prokofiev’s participation, on December 30, 1938 at the Opera House to an enthusiastic reception.  Obviously it was not “undanceable” after all!  

None of Prokofiev’s suites from Romeo and Juliet follows the original order of events, and conductors have felt free to compile their own suites. Stéphane Denève  has chosen ten excerpts from the complete score of 52 numbers and arranged them in a cogent sequence that follows the original dramatic outline and progression of moods in the ballet.

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Montagues and Capulets – Members of both feuding families strut about the ballroom. A contrasting waltz interlude depicts Juliet dancing with Paris, her betrothed. The return of the opening section is announced by a solo from an instrument rarely found in symphony orchestras, the saxophone.

Minuet – Noble, pompous music to accompany the arrival of the guests, the cream of Veronese society, at the home of the Capulets for the grand ball. 

The Young Juliet – All the mischievousness, skittishness and vivaciousness of the 14-year-old girl are admirably captured in this number.

Masks – A swaggering march tune accompanies Romeo, Mercutio and Benvolio, all masked, as they arrive at the ball of the rival Capulets’ house.

Dance of the Knights – In the grand hall of the Capulets’ palace, knights and ladies dance alternately and together. Juliet dances with her fiancé Paris. This is the scene where Romeo, masked, first sets eyes on Juliet and is hopelessly entranced.

Balcony Scene – The Balcony Scene takes place near the end of Act I. It is night. Juliet, restless and unable to sleep, steps out onto her balcony while down below, Romeo is making his way through the garden to see Juliet, shortly after having met her for the first time at the ball earlier that evening. For what is perhaps the most famous love scene in all literature, Prokofiev poured forth some of his most passionately lyrical music, perfectly conveying the ecstasy of the two lovers.

Friar Laurence  – Juliet visits the kindly, understanding friar, who provides her with a potion that will simulate death for a few hours.

The Death of Tybalt – To magnificent brawl music, Romeo avenges the murder of his friend Mercutio by dueling with and killing Tybalt. Swashbuckling action is followed by a grim funeral march (in 3/4 metre!) to grinding dissonances. The orchestral writing is highly virtuosic, with violins in particular required to execute incredible feats of showmanship.              

Romeo at Juliet’s Tomb – In the ballet’s final scene, Romeo comes to Juliet’s funeral bier. Believing her dead, in despair he takes poison to music of searing, poignant intensity.

The Death of Juliet – Juliet awakes to find Romeo dead at her feet, and stabs herself with his dagger. The curtain falls on the inert bodies of the lovers in a final embrace.

Program notes by Robert Markow