Sergey Prokofiev’s operatic tragedy The Fiery Angel was never performed in the composer’s lifetime – the music’s brittle energy, drama and eloquent lyrical tenderness would re-emerge in his Third Symphony. The narrative focuses relentlessly on Renata, who is haunted by an angel who turns out to be the devil. Director Emma Dante describes the opera as an explosive mix of fantastical realism and endless confusion of nightmares, madness, sexual impulses and cultural clashes’, and this Teatro dell’Opera di Roma production was acclaimed as ‘a presentation of Prokofiev’s masterpiece which sparkles in all its grotesque glory’ (Operawire.com).

REVIEWS:

The Polish soprano Ewa Vesin tackles the hugely demanding role of Renata with complete conviction… In the pit Alejo Pérez gives a handsome account of Prokofiev’s score.

--BBC Music Magazine

This was a Recording of the Month for January. Prokofiev’s weird opera comes to life in this powerfully ghostly and colorful production which features excellent singing and fine orchestral playing under conductor Alejo Pérez. Actually, there isn’t weakness anywhere in the cast and Emma Dante’s production is imaginative and masterly.

--MusicWeb International

The Fiery Angel seems better than ever. [Supported] by intelligent video direction, this new production is gripping from first to last. Ewa Vesin is as strong a Renata as we’ve had...capable of riding over some very loud music without screaming, and capable of melting self-laceration; and her resistance to the church and patriarchy in the last act is astonishing. Special praise...is due to Goran Jurić as the Grand Inquisitor, huge of voice (and stature) in a way that heightens our appreciation of the forces arrayed against Renata.

The star of the show, though, may well be conductor Alejo Pérez. This is a performance in which every twist and turn, even if unexpected when it comes, makes sense in retrospect. The orchestra sounds as if they’d been playing this music all their lives. All in all, a discographic coup.

--Fanfare