Romeo and Juliet, Op. 64 (1936)

Ballet in four acts and epilogue (nine scenes), to a scenario by Sergei Radlov, Adrian Piotrovsky, Leonid Lavrovsky and the composer.

Composed between 1935 and 1936, Romeo and Juliet, Op. 64, is undoubtedly the crowning achievement of Sergei Prokofiev's Soviet period and remains one of the most frequently performed ballets in the world. This score marked the composer's definitive return to the USSR and embodied his pursuit of a "new simplicity"—a melodic, accessible, and deeply expressive style capable of translating the psychological complexity of Shakespeare's tragedy.

The work’s genesis was remarkably turbulent. Originally commissioned by the Leningrad Kirov Ballet and then the Moscow Bolshoi, the score was initially rejected, with dancers infamously labeling it "impossible to dance" due to its complex rhythms and modern harmonies. Even more surprising was the original libretto's "happy ending," in which the lovers survived; Prokofiev justified this change for choreographic reasons before eventually bowing to pressure and restoring the traditional tragic finale. Due to these delays and Soviet censorship, the world premiere did not take place until 1938 in Brno (Czech Republic). It wasn't until Leonid Lavrovsky’s historic 1940 production at the Kirov that the ballet became a legendary triumph.

Musically, Prokofiev employs a sophisticated system of leitmotifs, where specific characters or emotions are associated with recurring themes that evolve alongside the plot. The score juxtaposes moments of brutal violence—such as the famous "Dance of the Knights" (Montagues and Capulets) with its menacing brass and heavy, rhythmic tread—with peaks of intense lyricism, like the "Balcony Scene," where soaring strings capture the ecstasy and fragility of young love. The orchestration is exceptionally rich, incorporating instruments then rare in ballet, such as the tenor saxophone, viola d'amore, and celesta, to create unique and evocative sonic textures.