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Prokofiev: The Fiery Angel

Ausrine Stundyte (Renata), Bo Skovhus (Ruprecht), Natascha Petrinsky (Hostess/Abbess), Elena Zaremba (Fortune-Teller), Nikolai Schukoff (Agrippa von Nettesheim/Mephistopheles)

ORF Radio-Symphonieorchester Wien, Arnold Schoenberg Chor, Constantin Trinks, Andrea Breth

Prokofiev: The Fiery Angel
With both the setting and aspects of the story radically altered, the opera becomes even darker and more powerful...Aušrinė Stundytė has in recent years made the role of Renate her own; and...

Prokofiev: The Fiery Angel

Ausrine Stundyte (Renata), Bo Skovhus (Ruprecht), Natascha Petrinsky (Hostess/Abbess), Elena Zaremba (Fortune-Teller), Nikolai Schukoff (Agrippa von Nettesheim/Mephistopheles)

ORF Radio-Symphonieorchester Wien, Arnold Schoenberg Chor, Constantin Trinks, Andrea Breth

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With both the setting and aspects of the story radically altered, the opera becomes even darker and more powerful...Aušrinė Stundytė has in recent years made the role of Renate her own; and...

About

Renata is obsessed with the love for the 'fiery angel'. Ruprecht, in love with Renata, wants to free her from the madness, but all his efforts are in vain. She goes to the monastery, but here too she is being haunted by the image of the fiery angel. The Inquisition accuses Renata of witchcraft and sentences her to death. Prokofiev's Fiery Angel is one of the outstanding operas of the 20th century. With her production, director Andrea Breth moves the action from 16th century Germany to the sterile environment of a modern psychiatric ward. The atmosphere of this prison-like place is sombre. 'Musically gripping, scenically intense' (Wiener Zeitung) / A scenic sensation' (Kurier) / 'Aušrinė Stundytė succeeds in her singing balancing act between eruptive power and vulnerability' (Die Presse)

Spotlight on this release

Awards and reviews

April 2023

With both the setting and aspects of the story radically altered, the opera becomes even darker and more powerful...Aušrinė Stundytė has in recent years made the role of Renate her own; and with the openness and generosity of her soprano, its control of colour, its capacity for tender lyricism with a tragic edge, she is perfect as the suffering heart of the work.
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