In Context: Folk, Form, and Fire: The Prokofiev Piano Concertos

Conductor Valery Gergiev, the Mariinsky Orchestra, and five renowned soloists perform Sergei Prokofiev's piano concertos in this marriage of virtuosic repertoire and pianistic might—part of year two of the Mariinsky’s residency at BAM. Context is everything, so get even closer to the program with this curated selection of articles and videos related to the show. After you've attended the show, let us know what you thought below and by posting on social media using #MariinskyBAM.

Prokofiev Lyrical, Prokofiev Grotesque

Hear all five of Prokofiev’s piano concertos—performed by the pianists Daniil Trifonov, George Li, Alexander Toradze Sergei Redkin, and Sergei Babayan under conductor Valery Gergiev—Wednesday, February 24 at 7:30pm in the Howard Gilman Opera House in Folk, Form, and Fire: The Prokofiev Piano Concertos, part of the The Mariinsky at BAM.

Photo: Daniil Trifonov

By Robert Jackson Wood


Written between 1911 and 1932, Prokofiev’s piano concertos trade in tempered lyricism, sardonic mischief-making, and jackhammer virtuosity—often in the span of mere measures. Composed largely to showcase his own keyboard prowess, they also bookend a period of relative experimentation for the composer. In 1932, the Central Committee of the Communist Party issued a decree ushering in what would become the doctrine of Socialist Realism—uplifting art that glorified the state was to supplant all self-indulgent modernist trifling—and Prokofiev, albeit cynically, would become one of its main musical emissaries. Though the provocateur in him found ways to persist during that time (see his Piano Sonata No.7, for example), few of his later works match the piano concertos in their brash commitment to innovation without fear of reproach.

Once More, with “Feeling"–Prokofiev's Cinderella Through the Ages

by Chris Tyler

Nadezhda Batoeva in the Mariinsky Theater's Cinderella. Batoeva dances the role at BAM on January 20. 

Photo: N. Razina

Move over, Queen Elsa—there’s a new classic back in town. Cinderella and her glass slipper are everywhere, and the Mariinsky Theater’s production of Prokofiev’s fairy tale ballet—running January 17—20 in the Howard Gilman Opera House–is just the tip of the folkloric iceberg. Take, for instance, Rob Marshall’s cinematic rendition of Sondheim’s Into the Woods, featuring a blithe Anna Kendrick in the role of princess-to-be. Or Kenneth Branagh’s upcoming live-action version of Disney’s animated treasure, starring Downton Abbey’s Lily James as Ella and Cate Blanchett as her stepmother Lady Tremaine. And don’t forget Douglas Carter Beane’s take on Rodgers & Hammerstein’s musical fable–which just closed on Broadway after a nearly two-year run. Indeed, much like the timeless rags-to-riches story at its core, Prokofiev’s jubilant score has similarly inspired countless interpretations since its debut in 1945.

In Context: Cinderella

Sergei Prokofiev's Cinderella, part of the Mariinsky at BAM, comes to the BAM Howard Gilman Opera House on January 17—20. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.