Today, this is one of Prokofiev's best-known works, and it contains some of the most inspired and poignant passages in his body of work.

For one evening, she returned to her hometown, Portland, Oregon, narrating Sergei Prokofiev's Peter and the Wolf with Pink Martini on December 31, 2007.

The key of C sharp minor is not a natural one on the violin, and may be intended to recall Beethoven's Opus 131 String Quartet, Mahler's Fifth Symphony, or Prokofiev's Symphony No. 7, a work he liked very much.

Prokofiev and Myaskovsky worked together at the conservatory on at least one work, a lost symphony, parts of which were later scavenged to provide material for the slow movement of Prokofiev's Piano Sonata No. 4.

In one instance, the second launch of Georgy Prokofiev's ill-fated USSR-3, it took two hopper balloons to untie the tangled nets on top of the giant balloon: the first jumper fell off his bench but managed to hold on to the balloon's cables and survived.

The work is one of the best-known pieces by the composer, and is one of the three popularly used scores in children's music education, together with Saint-Saëns ' The Carnival of the Animals and Prokofiev's Peter and the Wolf.

Prokofiev's first major success breaking out of the composer-pianist mould was with his purely orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes ; Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d ' acier and The Prodigal Son – which at the time of their original production were all highly successful.

The program at this premiere would prove to be problematic, because Prokofiev's Piano Concerto No. 2 in G minor ( which was first on the program ) was a triumphant success, and overshadowed the Fourth Symphony, which immediately followed.

Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel.

The opera was the result of a commission during Prokofiev's successful first visit to the USA in 1918.

Prokofiev's Second String Quartet and Myaskovsky's Symphony No. 23 and Seventh String Quartet contain themes in common — they are Kabardinian folk-tunes the composers took down during their sojourn in the region.

In 1930, during Prokofiev's new tour of America Giulio Gatti-Casazza of the Metropolitan Opera suggested staging Fiery Angel, but this did not go ahead.

This opera had been accepted for performance in the 1927-28 season at the Berlin State Opera by Bruno Walter, but this production never materialised ; in fact, the opera was never staged in Prokofiev's lifetime.

After a while, Prokofiev's mother felt that the isolation in Sontsovka was restricting his further musical development, yet his parents hesitated over starting their son on a musical career at such an early age.

They were introduced to composer Alexander Glazunov, a professor at the Conservatory, who asked to see Prokofiev and his music ; Glazunov was so impressed that he urged Prokofiev's mother that her son apply to the Saint Petersburg Conservatory.

This symphony was also an exact contemporary of Prokofiev's Violin Concerto No. 1 in D major, Op.

This delay was another example of Prokofiev's bad luck in operatic matters.

Paris was better prepared for Prokofiev's musical style.

Prokofiev's music was now seen as a grave example of formalism, and was branded as " anti-democratic ".

On 20 February 1948, Prokofiev's wife Lina was arrested for ' espionage ', as she tried to send money to her mother in Spain.

In 1972, Edward Downes, formerly associated with London's Royal Opera House, became Musical Director, and his first new production was the Australian premiere of Richard Strauss's Der Rosenkavalier at the Princess Theatre, Melbourne, followed closely by Prokofiev's War and Peace as the opening night performance of the Sydney Opera House, a short time before the building's official opening.

Also in 1991, a recording of Prokofiev's Peter and the Wolf was made by Deutsche Grammophon, narrated by Sting, and played by Claudio Abbado and the Chamber Orchestra of Europe.

( Siegfried Rapp was to premiere Prokofiev's 4th Piano Concerto in 1956, five years before Wittgenstein's death.

Its first recording of the new contract was extended excerpts from Prokofiev's Romeo and Juliet.

Some of Prokofiev's other music was given lyrics written by Ogden Nash.

In 1995, a new edition of the film was issued on VHS and laserdisc, for which Prokofiev's score was entirely re-recorded in hi-fi digital stereo by Yuri Temirkanov conducting the St. Petersburg Philharmonic Orchestra and Chorus, although the dialogue portions of the soundtrack were left unchanged.

The in-game music had conventions similar to Sergei Prokofiev's Peter and the Wolf, wherein each guest was assigned a musical theme ; where Peter and Wolf used instrumental changes for its characters, The 7th Guest, conversely, used stylistic variations on the melody of Sanger's " The Game ".

The end of the war saw his first major three-act ballet for a British company, his version of Sergei Prokofiev's Cinderella ( 1948 ), which was followed by Sylvia ( 1952 ), and Ondine ( 1958 ), with choreography created especially to display Margot Fonteyn's unique talents and music by Hans Werner Henze.

One of her best known recordings is a transcription of Sergei Prokofiev's Peter and the Wolf, which was released by RCA Victor in Japan.

He commissioned a new completion for Prokofiev's cello concertino from the Udmurt musicologist Vladimir Blok which was premiered on 11 April 1997 in Cardiff, with the BBC National Orchestra of Wales conducted by Mark Wigglesworth.

The resulting piece was Le pas d ' acier (‘ The Steel Steps ’), Prokofiev's third ballet for Diaghilev, which premiered in Paris in the summer of 1927 .< ref > Dorothea Redepenning.

Prokofiev's response was Symphony No. 4 Op.

* Fata Morgana, a character in Sergei Prokofiev's opera The Love for Three Oranges

Their work at miniature scale has translated into large-scale decors for the theatre and opera productions of director Richard Jones: Prokofiev's The Love for Three Oranges ; Feydeau's " A Flea in Her Ear "; Tchaikovsky's Mazeppa ; and Molière's " Le Bourgeois Gentilhomme ".

These include treatments of Turandot by Karl Vollmöller and Bertolt Brecht, operas based on the same story by Busoni, and most famously Puccini and Prokofiev's The Love of Three Oranges.

Prokofiev's music from Alexander Nevsky accompanies the battle scene in Woody Allen ’ s comedy Love and Death ( 1975 ).

In the fall of 1949, the NYCO revived Prokofiev's comic opera The Love for Three Oranges, which had not been seen in America since its unsuccessful Chicago premiere in 1921.

In the 20th century, the best examples of comic opera by Russian composers were Igor Stravinsky's Mavra ( 1922 ) and The Rake's Progress ( 1951 ), Sergey Prokofiev's The Love for Three Oranges ( 1919 ) and Betrothal in a Monastery ( 1940 – 1941 ), and Dmitri Shostakovich's The Nose ( 1928, staged 1930 ).

Britten's Madwoman in Curlew River and the Cook in Prokofiev's Love of Three Oranges are examples.

She sang Fata Morgana in Sergei Prokofiev's The Love for Three Oranges in Chicago and Florence, and went on to sing in such operas as Prokofiev's The Gambler and Puccini's Suor Angelica, in the latter as the Zia Principessa.

On the opera stage Chookasian returned to the Spoletto Festival in 1962 to sing Clarissa in Prokofiev's The Love for Three Oranges.

He portrayed several more roles with the NYCO over the next seven years, including Dessalines in William Grant Still's Troubled Island ( 1949 ), the four villains in Jacques Offenbach's The Tales of Hoffmann ( 1949 ), Escamillo in Georges Bizet's Carmen ( 1949 ), Tchelio in Sergei Prokofiev's The Love for Three Oranges ( 1950 ), Tonio in Ruggero Leoncavallo's Pagliacci ( 1950 ), Timur in Giacomo Puccini's Turandot ( 1950 ), Alfio in Cavalleria rusticana ( 1950 ), The Messenger in the world premiere of David Tamkin's The Dybbuk ( 1951 ), the title role in Giuseppe Verdi's Rigoletto ( 1951 ), King Balthazar in Gian Carlo Menotti's Amahl and the Night Visitors ( 1952 ), Colline in Puccini's La bohème ( 1952 ), the title role in Béla Bartók's Bluebeard's Castle ( 1953 ), Count Almaviva in Mozart's The Marriage of Figaro ( 1954 ), Joe in Show Boat ( 1954 ), Germont in Verdi's La Traviata ( 1955 ), and Diomede in the New York premiere of William Walton's Troilus and Cressida ( 1955 ) among others.

The theme was the March from Prokofiev's The Love for Three Oranges.

His staging of Sergey Prokofiev's The Stone Flower ( 1957 ) and of The Legend of Love ( 1961 ) brought him acclaim as a choreographer.